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Nikon Z50 vs Canon EOS M6 Mark II: midrange mirrorless comparison

10 Nov

Midrange mirrorless comparison – Nikon’s Z50 versus Canon’s EOS M6 Mark II

Nikon’s Z50 and Canon’s EOS M6 Mark II are both built around APS-C sized sensors, mirrorless lens mounts, come with twin-dial controls and are being launched at similar prices. But as much as they have in common, there are plenty of other aspects separating the two as well.

We’ve gotten a chance to use them both and have a ton of details for you about how they compare, but not just on specs alone. We’ll take a closer look at how well they’re each work for common photographic use cases.

Features

First things first, the Canon comes with noticeably more resolution than the Nikon: in fact, at 32.5MP, the M6 Mark II (along with its DSLR sibling, the EOS 90D) comes with the highest-resolution APS-C sensor we’ve yet seen. The Nikon Z50 instead uses a 20.9MP unit that is closely related to the one in the Nikon D500. This will be plenty of megapixels for most people, but some users may want more; and we’ll have more on that in a bit.

Both cameras have sophisticated on-sensor autofocus systems that offer eye-detection and subject tracking, but they differ greatly in both interface and usability. Most notably, the Z50 has an AF joystick for interacting with your AF point, while the M6 II makes do with merely a touchscreen.

Both capture full-width 4K video and offer fast burst speeds, but further differences like ergonomic design and their respective lens lineups will have a big impact on which option is the right one for you.

Landscape photography

Canon EOS M6 Mark II | Canon EF-M 22mm F2 | ISO 100 | 1/160 sec | F7.1
Photo by Richard Butler

Both cameras tick a fair amount of boxes for landscape shooting, albeit different ones. The more compact EOS M6 II is going to be the easier option to pack into a bag for heading out into the elements, though you may want to add on the optional EVF for shooting in bright light.

However, the Nikon Z50’s claimed weather sealing is probably going to help it stand up to those elements better if you’re expecting inclement weather, and its larger grip, buttons and dials will be more easily operable with gloves. You can top them up with USB should battery life run down while you’re off the grid – and they have similar battery life numbers.

If you like to crop, or you want to make the largest prints you can from an APS-C sensor, the M6 II is your best bet

Based on our testing of cameras with similar sensors, we expect both the Z50 and M6 II to have good dynamic range, so that won’t be a big differentiator. But resolution absolutely will be: 32.5MP is a good amount more than 20.9MP. So if you like to crop, or you want to make the largest prints you can from an APS-C sensor, the M6 II is your best bet here.

But we must also consider lenses: from our initial photos, we’ve only seen one native zoom lens that performs well on the high-res M6 II sensor, and that’s the wide-angle 11-22mm F4.5-5.6. There’s a wide suite of primes for the system now, to be sure (more on those later), but for users who work with a more ‘standard’ zoom range, we think Nikon’s Z50 solution may be best.

Of course, you can always adapt lenses from Canon’s EF-S and EF mount DSLRs onto the M6 II, and Nikon’s Z-mount full-frame lenses and F-mount lenses on the Z50. If you’re willing to put up with the extra bulk and cost, either camera will offer you plenty of options.

Travel

Nikon Z50 | Nikon Z DX 16-50mm F3.5-6.3 | ISO 100 | 1/640 sec | F6.3
Photo by Carey Rose

Both cameras will to be great for travelers, for several reasons. Firstly they’re both reasonably compact and easy to pack. They both offer USB charging (be aware we think the Canon requires USB Power Delivery spec) so you can top up their batteries on-the-go. They each offer solid Wi-Fi connectivity so you can get images onto your phone and onto the web from just about anywhere.

Oh, and we like the pictures out of each of them: even their un-tweaked JPEGs look to offer pleasing color and will be great for quick social posts. And if you do find you want to tweak your files, each allows for user-friendly creative filters as well as more powerful processing of Raw files right on the camera.

For this use, we wouldn’t get too fussed about the standard zooms on either camera – they’re both compact, and the Canon offers good-enough sharpness for web posting. But if you want better low light performance or blurrier backgrounds behind your subjects, we’d recommend the EOS M6 Mark II because it has more native, fast-aperture primes available for reasonable prices.

On the Nikon Z50, you can of course adapt Nikon’s full-frame Z primes, as well as crop-sensor and full-frame Nikon F-mount primes, but that adds a lot of bulk and, potentially, cost. On the M6 II, you have 16mm, 30mm and 56mm F1.4 primes from Sigma as well as Canon’s 22mm F2 and 32mm F1.4, and they’re all available for less than $ 500 US each.

We found the original EOS M6 with Canon’s 22mm prime was a particularly pleasing combination for travel, and we’d expect the same with the Mark II. But it bears mentioning that if you are shooting in a lot of bright light, you’ll want a viewfinder, so if you get your EOS M6 II with the optional unit, don’t forget to bring it along.

Sports and action

Canon EOS M6 Mark II | Canon EF-M 18-150mm F3.5-6.3 | ISO 100 | 1/250 sec | F9
Photo by Carey Rose

Sports and action shooters eyeing either of these cameras will find that they look awfully capable from their specifications. The Nikon Z50 doesn’t shoot quite as fast as the Canon M6 Mark II, topping out at 11fps with autofocus to the Canon’s 14fps. If you want a live view of images between each of your shots, the Nikon drops to 5fps, which is again slower than the Canon’s 7fps.

And all this is ignoring the Canon’s very fast 30 fps Raw Burst mode, which is just as it sounds: the camera shoots a burst of Raw images at 30 fps for around three seconds. The caveats with this feature include a 1.25x crop, as well as the requirement that you ‘unpack’ the burst using Canon’s proprietary software once you download them to your computer, but Canon edges out the Nikon on absolute speed here.

We generally find we prefer a viewfinder to a rear screen when shooting sports and action, and it’s no different with these cameras. The Nikon Z50’s unit is broadly comparable to the EOS M6 II’s detachable unit, so as long as you get the Canon with a kit that includes the EVF-DC2, you won’t be left wanting.

Both cameras comes with adept on-sensor phase detection systems capable of accurately following subjects very well

But burst speeds are meaningless if none of your images are in focus. Luckily, both cameras comes with adept on-sensor phase detection systems capable of accurately following subjects very well, particularly if you choose a ‘zone’ and keep it over your subject on your own. If you want the camera to track your subject for you around the frame, the Nikon requires a series of button clicks to get there , whereas the Canon requires you to change one menu setting, and thereafter, you only need a half-press of the shutter once you find your intended subject.

Lastly, ergonomics bear mentioning. The Nikon’s AF joystick makes moving your AF point a bit easier than the M6 II’s touchscreen (though the latter isn’t bad by any means), and the Nikon’s larger grip will be more comfortable if you’re adapting larger telephoto zooms. But if you opt for each system’s native, lightweight telephoto zooms (meaning Nikon’s DX Z 50-250 F4.5-6.3 or Canon’s EF-M 55-200mm F4.5-6.3), either camera will balance just fine.

Family and moments

Canon EOS M6 Mark II | Canon EF-M 22mm F2 | ISO 100 | 1/320 sec | F3.2
Photo by Richard Butler

To start, just as both cameras’ autofocus systems are capable with sports and action, they’re quite good at focusing on people as well. Both come with reliable eye-detection autofocus, ensuring focus is exactly where you want it. The M6 II has the edge again here: if for some reason it loses track of your subject, or that person turns away, the camera won’t jump to someone else, as the Nikon Z50 will.

Both kit lenses are going to be great for general outdoor shooting, but if you’re out at a fancy candlelit dinner, you’ll want a fast prime lens for the best images, and Canon simply has better options here, as we covered in the ‘Travel’ section.

Image quality on both cameras is generally superb. This means you will rarely have to tweak images before sending them off to your phone, which you can then easily share with the people around you, in the moment.

Without its viewfinder, the M6 II is a bit easier to throw into a bag than the Z50, but once attached, the size difference between the two is less significant. And since both can be USB charged, you can use the same USB Power-Delivery charger you use for your phone to keep them topped up should you run out of power.

Lifestyle and people

Nikon Z50 | Nikon Z 50mm F1.8 S | ISO 100 | 1/4000 sec | F1.8
Photo by Chris Niccolls

While family and moments is primarily about casual outings, this type of photography is for the social media conscious photographer looking to add some panache to a scene with some posing and creative use of depth-of-field.

To summarize, both cameras are capable of great image quality out-of-camera despite their small size, and each have great eye-detection focus (though we prefer generally the Canon’s). Both let you get your images onto the social web quickly, but you can tweak them on the cameras themselves before getting them to your favorite image-sharing app.

As with a few of the previous categories, it really comes down to lenses here. Between Canon’s own primes and now Sigma’s, the EOS M6 Mark II has a pretty extensive range of fast prime lenses that are both appropriately sized and priced for the camera. Nikon’s only two native Z-mount crop-sensor lenses are currently kit zooms, and their slower variable apertures won’t blur backgrounds as well. Add a full-frame Z mount prime, or any F-mount prime and an adapter, and you’re spending more money and adding more size and weight.

Video

These cameras offer comparable video feature sets. They each provide 4K video from the full width of the sensor and have microphone and micro-HDMI ports, but no headphone port to monitor audio. The tilting touchscreens make it easy to shoot from odd angles, but hand-held footage has to rely on in-lens stabilization as neither has a stabilized sensor in the camera body. Our biggest concern was the lack of 24p video recording from the Canon, but the company says it’s adding it in a firmware update in 2020.

The Nikon gives you more flexibility for configuring a separate i (custom) menu for video mode and they both allow you to set up separate button functions when video shooting.

Additionally, both cameras feature face-and-eye-detect autofocus while shooting video, as well as tap-to-track functionality. In all, they’re both solid options for shooting good-quality, casual video.

The wrap

Throughout this article, there are some themes that have emerged. Both of these cameras are really good cameras that are capable of taking stellar images and video. Both cameras can perform very well with capturing fast action as well as photographing human subjects.

They both handle very well, but differently, and this will come down to personal taste for many people. The larger grip of the Z50 lends itself better to larger lenses, which may be welcome if you’re adapting lenses from the company’s other lens mounts. Which brings us to the largest theme so far.

There are currently more native EF-M zooms and primes available than there are for the Z50

It’s true that vast majority of buyers aren’t likely to move too far beyond the kit lenses on either of these cameras, but the EOS M6 II gives you the most cost-effective and size-conscious options to do so, if you ever decide to. There are currently more native EF-M zooms and primes available than there are for the Z50, and native lens options are likely to be a less confusing path to navigate for new users than deciphering adapters, additional mounts, autofocus motor compatibility, and so on.

Of course, it could be argued that buying full frame Z-mount lenses puts you on a full-frame upgrade path on the Nikon – a path that doesn’t exist for the Canon. But the affordability of the EF-M prime lenses means it might be more cost-effective to choose what you need now rather than compromising in anticipation of a switch you might make at some later date.

But what about you? What do you make of these two cameras and how would you use them? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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What is it like to come back to a DSLR after shooting mirrorless?

10 Nov

With the 18-135mm attached, the 90D is a larger camera than I’ve become used to carrying. It didn’t get the way of enjoying my vacation, though.

I’ve been a professional photographer since 2012, when the DSLR reigned supreme. The Canon 5D Mark III was my main body that I used exclusively for photography work. As my personal and professional interests gravitated towards video, I took the plunge and placed an order for the Sony a7R III in February 2018. A year later, I added the Fujifilm X-T3. Slowly but surely, those mirrorless cameras replaced my DSLRs as they better supported my overall vision of being a hybrid photo and video shooter.

However, the 2019 release of the Canon 90D piqued my interest. How was Canon’s DSLR technology faring in a world where many declare the DSLR to be on its way out? I took the 90D on vacation to Hawaii and committed to using it exclusively for a week. Here are my conclusions.

First impressions

The Canon 90D with the 18-135mm kit lens is both bulky and heavy. It’s not a discreet camera by any means. Many people (myself included) gravitate towards mirrorless cameras as they are smaller in size and weight, and the 90D immediately reminded me that the bulk of DSLRs is not something that I miss, especially when I’m on vacation.

There are times and places you don’t want the bulk of a DSLR

One thing I do miss is Canon’s vast DSLR lens library. From fisheyes and tilt shifts to super telephoto lenses, Canon offers some of the best and most versatile lenses that even big mirrorless manufacturers such as Sony aren’t producing yet. But for the sake of this test, I stuck with the kit lens for a full week and found that despite its size, 18-135 is an incredibly useful focal range, especially for travel photography. After a week of schlepping it around, I got used to the size and ultimately appreciated the versatility of the lens.

A little like coming home

After over one year of shooting Sony and Fujifilm mirrorless, the Canon 90D feels like coming home. The ergonomics, dials and controls were all very familiar and easy to use without making lots of custom settings as you often have to with mirrorless cameras such as Sonys and even Canon’s newest EOS R and RP. It was incredibly easy to power on the camera and just start shooting a wide range of subjects, from a wide landscape shot of a beach, to homing in on the green sea turtles that I suddenly spotted swimming close to shore.

While 135mm on a crop sensor gives you a nice amount of reach, the Canon 90D gives you even more flexibility since it produces 32-megapixel images. This allows you more flexibility to crop in on your subject in post production, as I did with this image of a mongoose, and some shots of sea turtles.

Concerns about noise

One feature that I find indispensable in mirrorless cameras is silent shutter. This is key for certain professional shooting moments, such as in auditoriums or at performances where shutter sounds are frowned upon, or when attempting to capture candid moments. On the Canon 90D, there’s the additional sound of mirror slap and its shutter is clunky and loud: once even startling a group of birds that I was attempting to photograph. There is no subtlety or finesse in the shutter sound and, while there is a full-electronic mode, you can’t avoid the sound of the mirror opening for you to get into live view to use it. Even in everyday travel photography scenarios, the shutter sound was distracting not only to me, but also the subjects I was attempting to photograph.

Finding in favor of a finder

The initial familiarity of the Canon DSLR layout was nice at first. However, I quickly became aware that I’d come to find mirrorless cameras offer several key features that make them superior to DSLRs (at least, for my shooting style).

Caption

Firstly, DSLRs are restricted to using only optical viewfinders (OVF) while mirrorless cameras offer electronic viewfinders (EVF). Being forced to use an OVF in Hawaii was painful.

With an EVF, my creative compositions have greatly expanded thanks to the seamless transition between using the LCD and EVF eyepiece to frame my shots. I love the ability to get up high or get down low to compose shots using the LCD. While DSLRs such as the Canon 90D does allow you to enable Live View to shoot still photos with the LCD, it is clunky and isn’t as responsive as LCD shooting on mirrorless cameras. Thus, it felt pointless using the LCD to shoot on the 90D, and I felt like I sacrificed many photo opportunities and creative angles that I would have been able to get with a mirrorless camera.

Conversely, because DSLRs require the mirror to be flipped up when recording video, you are then restricted to only using the LCD. This is very difficult in bright, outdoor lighting and it quickly became frustrating to not be able to seamlessly transition back and forth between the EVF and LCD as you can on mirrorless cameras.

All about the flexibility

Since the Canon 5D series still does not offer tilting or articulating rear screens, I was excited to finally see one on the Canon 90D. As I say, the ability to shoot and compose with a movable LCD on mirrorless cameras has really enhanced my creativity when it comes to image composition.

Now that I’ve spent some time with the fully-articulated screen on the Canon 90D that can face forward for vlogging, I find that it isn’t very useful for shooting photos. For most photo and video needs, it is more efficient to have a two-axis LCD screen that simply pops out and tilts up or down; you truly only need the 90D’s forward-facing flip screen if you intend to vlog or take selfies.

The 90D’s fully articulating screen made it easy to get low enough to take this shot, but a tilting display would have made alignment easier.

In the photo below, I had the camera low to the ground on top of the train tracks and needed to angle the LCD up to compose. It not only took longer to flip the LCD screen out to the left, but it also became hard to center the image since the LCD was so far to one side. This is a case with a simple tilting screen would have worked much better.

On the other hand, I love the Canon 90D’s screen that lets you turn the LCD inward to face the camera, thereby offering screen protection. It would be fantastic to see other camera manufacturers add this feature to their LCDs.

The best touchscreen I’ve ever used

Another thing in favor of the 90D’s screen was that its touch operation is the best I’ve experienced on any DSLR or mirrorless camera. It’s very responsive with no lag, and it allows for multiple functions, from reviewing your images by swiping, selecting quick modes, and (best of all) setting a focus point. I’ve long heard that Canon’s Dual Pixel Autofocus is among the very best, and after trying it on the Canon 90D, I have to agree. When you select a focus point by tapping on the touchscreen, tracking is fast and accurate. This came in handy when shooting this tiny and very fast lizard perched on a sprinkler head. Within seconds of snapping this photo, he took off running.

Within seconds of snapping this photo, tiny (and very fast) lizard took off running, but the 90D’s live view AF was quick enough to capture him, first.

All in all…

After a full week of shooting with the Canon 90D and the kit lens, I’ve adjusted to its size and shooting style. If I had to, I could use this camera comfortably to shoot photos and videos for both fun or professional use. But given the choice, I would still reach for a mirrorless camera instead. It has nothing to do with image quality (I still prefer Canon’s output), or autofocus performance (though Sony still has an edge).

Instead, it comes down to the DSLR’s lack of an electronic viewfinder (EVF). With mirrorless cameras, I’ve become used to constantly (and rapidly) switch between using the rear LCD screen and EVF to compose and shoot both photos and videos. This transition is quick and seamless on a mirrorless camera. Yes, you have an option to enable Live View shooting on a DSLR like the Canon 90D, but the experience is clunky and therefore not practical on a professional shoot, or even a casual vacation.

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Articles: Digital Photography Review (dpreview.com)

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Canon Announces the EOS Ra, Its First Mirrorless Astrophotography Camera

08 Nov

The post Canon Announces the EOS Ra, Its First Mirrorless Astrophotography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon eos ra Canon has announced its first astrophotography camera since the Canon 60Da, which is also its first-ever mirrorless astrophotography camera:

The Canon EOS Ra.

The EOS Ra isn’t a particularly flashy camera; it’s the Canon EOS R, along with a few special features designed for astrophotographers. But if you’re looking to take photos of the night sky, the Canon EOS Ra may be exactly what you need.

Canon eos ra

What makes this camera special?

First, Canon has added a special IR filter in front of the sensor, one that promises to increase transmission of the H-alpha wavelength by approximately four times the amount of the standard EOS R. Most cameras include an IR filter that reduces H-alpha wavelength transmission. But the H-alpha wavelength features heavily in celestial phenomena such as diffuse nebulae; the enhanced transmission should make for clearer, sharper images of these astronomical objects.

And second, Canon added enhanced EVF and LCD viewing. You can zoom in to 5x or 30x magnification using either the LCD or the electronic viewfinder, which allows you to focus on celestial objects with increased precision.

Canon Announces the EOS Ra, Its First Mirrorless Astrophotography Camera

Note that the Canon EOS Ra offers all the other features of the EOS R, including a 30.3 MP sensor, the DIGIC 8 processor, continuous shooting at 8 frames per second, and Canon’s amazing Dual Pixel autofocus.

So who should get the Canon EOS Ra? And how does it perform when shooting subjects other than the night sky?

The Canon EOS Ra is designed for astrophotographers, and I recommend you keep it that way. While all the EOS R features are present, the altered IR filter may cause issues when photographing non-celestial subjects. Plus, the EOS Ra has a few hundred dollars added to its price tag, selling for $ 2499 USD compared to the $ 1799 USD Canon EOS R. For non-astrophotographers, purchasing the EOS Ra will be throwing away unnecessary dollars.

But for astrophotographers, the Canon EOS Ra is a fantastic option.

The camera is currently available for preorder and should debut in mid-December 2019.

What do you think about the Canon EOS Ra? And for all the astrophotographers out there: Will you be using it for astrophotography?

The post Canon Announces the EOS Ra, Its First Mirrorless Astrophotography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Canon unveils the EOS Ra, a full-frame mirrorless astrophotography camera

06 Nov

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Canon very quietly today released a dedicated astrophotography version of its EOS R camera, the EOS Ra.

Much like the Nikon D810a and Canon’s own 60Da, the EOS Ra has been modified to better capture celestial objects in the night sky, but aside from that remains unchanged from its more conventional counterpart. Specifically, Canon has modified the IR filter in front of the full-frame sensor, to allow the Ra to capture as much as four times the amount of hydrogen alpha rays (656nm wavelength) compared to the standard EOS R camera. This alteration will make it easier to capture the deep red infrared rays given off by objects in space.

The EOS Ra also offers a 30x magnification option in the EVF and in Live View, a dramatic increase from the 10x magnification found in the standard EOS R. This increase should make it easier to focus on celestial bodies to get focus just right.

Aside from those two alterations, the EOS Ra is effectively identical to the EOS R, complete with the 30MP sensor, 3.69M-dot OLED EVF, dot-matrix LED panel and magnesium-alloy body.

The Canon EOS Ra is currently available to pre-order for $ 2,500. No estimated shipping timeframe has been given at this time.

Update: As of 5pm PT, the EOS Ra product page on Adorama.com has been removed. We have asked Canon for clarification and will update this article accordingly.

Articles: Digital Photography Review (dpreview.com)

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Sandmarc launches hybrid polarized ND filters for DSLR and mirrorless cameras

20 Oct

Back in August photographic filter maker Sandmarc launched a line of hybrid polarized ND filters for smartphone cameras. Now the same type of filter has been released for DSLRs and mirrorless cameras.

Like the smartphone equivalent, the Hybrid Pro filter series combines the filter attributes of neutral density (ND) and polarizers into one single filter. Like a ND filter they help improve dynamic range of a shot in bright light, can help add motion blur to moving objects by allowing for slower shutter speeds, and offer more control over exposure and shutter speeds for film makers. Like a polarizer, they also help reduce reflections, protect highlights and boost color.

Sandmarc’s Hybrid Pro filters are made from multi-coated and anti-reflective glass for accurate color transmission. The company says the aluminum frame material makes the filters both durable and lightweight.

A set of filters includes ND16/PL, ND32/PL and ND64/PL variants to cover shooting in a range of light conditions. The filters are available in 58, 67, 77 and 82mm diameters and can be pre-ordered on the Sandmarc website now. Pricing starts at $ 169.99 for the 58mm version.

Articles: Digital Photography Review (dpreview.com)

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The Zhiyun WEEBILL-S is a compact 3-axis gimbal for mirrorless and DSLR cameras

19 Oct

Zhiyun, a leading gimbal manufacturer, announced the WEEBILL-S 3-axis gimbal earlier this week. Designed for mainstream mirrorless and DSLR cameras plus lens combos, the new gimbal offers ultra-low latency image transmission in 1080p with a brand new TransMount Image Transmission Module while ViaTouch 2.0 allows your smartphone to function as a professional monitor and multi-functional remote controller.

The latest iteration of the WEEBILL-S has a 300% upgraded power torque motor along with a 50% increase in responsiveness. It’s compatible with multiple camera/lens combos, including Sony’s A7 III+FE 24-70mm F2.8 or the Canon 5D Mark IV+EF 24-70mm F2.8. A unique ergonomic sling mode lets operators easily switch between high and low angle shots using the TransMount quick setup kit. The 8th version of the Instune algorithm enables the gimbal to automatically recognize the weight and selects the perfect motor strength for the best shooting accuracy.

The all-new image transmission module enables a maximum of 1080p / 30p streaming, 100-meter image transmission featuring LUT, pseudo coloring, focus peak, and zebra adjustment for professional monitoring and livestream publishing. The TransMount image transmission module allows you to add 3 devices to the stabilizer – a smartphone, tablet, or professional monitor. Interchangeable batteries enable you to run the device for 14 hours straight. You can charge your camera in real-time which comes in handy for day-long shoots. Other features include:

ViaTouch 2.0 which creates a seamless connection between smartphone and camera.
SmartFollow 2.0. enables you to select a point of interest from the ViaTouch 2.0 interface and the camera will follow its movement with ultra-low latency and a cinematic experience.
The all-new motion sensor control system, Sync Motion, gives you the advantage of controlling the stabilizer’s direction with a smartphone and an ultra-high responsive speed gives you an immersive filmmaking experience.
WEEBILL-S supports electronic focus and mechanical focus/zoom control with a control wheel on the grip, to realize a fast and accurate focus or zoom when shooting. Using the servo focus/zoom motor, users can control the zoom and focus for a more professional filmmaking experience.

The WEEBILL-S is available to order starting at $ 439. The Zoom/Focus Pro package retails at $ 519 while $ 679 will get you the Image Transmission Pro package.

Articles: Digital Photography Review (dpreview.com)

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Nikon introduces the Z50, a DX-format mirrorless camera for Z-mount

13 Oct

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Nikon has announced the first DX-format camera to use the Z-mount: the Z50. The Z50 features a 21MP BSI CMOS APS-C sensor (similar to what’s on the D500) with on-sensor phase detection. Unlike the Z6 and Z7, the Z50 does not have in-body image stabilization.

Despite being a smaller and lighter camera than the Z6/Z7, the Z50 doesn’t feel cheap, and is weather-sealed to some degree. It has a downward-tilting 3.2″ touchscreen display, 2.36M-dot OLED EVF and pop-up flash. Its single SD card slot supports high-speed UHS-II media while its Micro USB port allows for in-camera battery charging. The Z50 uses the new EN-EL25 battery, with an estimated battery life of around 300 shots per charge.

The Z50 is capable of shooting bursts at 11 fps with continuous AF. It can capture UHD 4K video at 24p and 30p, and a 120 fps option is available if you drop the resolution to Full HD. While the Z50 has a mic input, it lacks a headphone socket.

The Z50 with its 16-50mm F3.5-6.3 VR kit lens

Along with the Z50 come two new kit lenses. First is the collapsible Nikkor Z DX 16-50mm F3.5-6.3 VR, which offers up to 4.5 stops of image stabilization and has a built-in control ring. For longer reach, there’s the Nikkor Z DX 50-250mm F4.5-6.3 VR, which offers 5 stops of shake reduction and also has a control ring.

The Z50 will be available in November for $ 859 body-only, $ 999 with the 16-50mm lens and $ 1349 with the 16-50mm and 50-250mm lenses. Both kit lenses will be available separately, with the 16-50 priced at $ 299 and the 50-250 at $ 349.

See all of our Nikon Z50 content

Press Release

A BIGGER MOUNT TO SHARE THE BOLDEST IDEAS: IT’S EASY TO TAKE CREATIVITY FURTHER WITH THE LIGHTWEIGHT NIKON Z 50 MIRRORLESS CAMERA

Nikon Also Announces the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR, Two New Lenses That Deliver Incredible Image Quality and Outstanding Portability

MELVILLE, NY (October 10, 2019 at 12:01 A.M. EDT) – Today, Nikon Inc. announced the next Z series mirrorless camera, the DX-format Nikon Z 50, along with two new companion NIKKOR Z lenses, the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR. The new Nikon Z 50 takes full advantage of Nikon’s larger Z mount, providing creators of all types with the most innovative optical system for superior image and video quality. The compact and lightweight Nikon Z 50 was made for unique individuals seeking a camera that has the speed, portability and style to keep pace and share their creative storytelling and imagination, especially when paired with the new ultra-compact 16-50mm zoom and the slim 50-250mm telephoto zoom lenses.

“The new Nikon Z 50 is a small yet capable camera that brings the best of the Nikon Z series to all kinds of creators to discover, share and engage,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z DX lenses expands the Nikon Z series to provide new creative tools for those looking to take their photo and video passions to new heights.”

When a sudden case of jet-set wanderlust strikes, or if there’s an idea that just has to be shared in 4K video, the Nikon Z 50 is the unobtrusive companion that promises to help deliver content that truly stands out. This is Nikon’s first DX-format mirrorless camera, delivering a more compact lightweight system to those upgrading to mirrorless or discovering the Nikon Z mount system. The new Z 50 offers an ergonomic design, intuitive operability and the steadfast reliability Nikon is known for, but in a slimmer, lightweight and attainable body. Taking advantage of the Nikon Z mount, the Z 50 produces stunning image quality and provides optimal performance for any type of content creation, from still photography to high-quality 4K video.

SMALL ON SIZE, BIG ON FUN: The easy-to-carry, compact and lightweight 14-oz body of the Nikon Z 50 is designed with intuitive controls and an agile yet durable magnesium alloy frame. It’s effortless to carry while vlogging a vacation, hiking the backcountry or exploring a new part of town. Since it’s mirrorless, users can activate the silent shutter function for truly low-profile shooting in sensitive situations.

TELL YOUR STORY, BEAUTIFULLY: A DX-format 20.9-megapixel CMOS sensor delivers superior image quality, sharpness, color and tones to document it all, even in low light. The EXPEED 6 image-processing engine helps to achieve excellent low-light performance and the highest standard sensitivity in its class¹for still-image shooting – ISO 51,200 – so users can capture high-resolution photos in challenging lighting conditions, like concerts or night street photography.

HIGH-SPEED PERFORMANCE: The camera quickly locks focus with a 209-point Hybrid AF System that enables broad coverage of approximately 87% of the frame horizontally and 85% vertically. It’s also the first Nikon DX-format camera to employ Eye-Detection AF, which makes portrait photography simple by recognizing and instantly focusing on a subject’s eyes, even if they are moving. What’s more, with fast 11 fps (with AF/AE) continuous shooting, users can keep up with fleeting moments and never miss a moment of the action.

FLIP-DOWN SELFIE SCREEN: The Nikon Z 50 features an easy to use interface with a 3.2-inch flip-down LCD touchscreen that’s ideal for selfies and vlogging. The LCD features familiar soft keys and icons, while intuitive controls make storytelling simple. Selfie Mode automatically disables all but essential controls while the LCD is flipped down, which makes it easy for the photographer to turn the camera on themselves and capture flattering photos and videos without worry of accidentally changing settings.

EPIC VIDEO FEATURES AND NEW CREATIVE OPTIONS: Sharp, vibrant 4K video is just the beginning – Experience built in 120p slow-motion, time-lapse and interval timer as well as in-camera video trimming and 20 Creative Picture Controls. These Creative Picture Controls and Special Effect modes instantly transform an image or video footage, while Scene Modes automatically adjust settings to optimize performance for beginners. For smooth footage, the camera also incorporates additional built in stabilization while shooting Full HD or 4K video.

SHARE BETTER CONTENT, INSTANTLY: Built-in Wi-Fi® and Bluetooth connectivity along with support for the new SnapBridge² version 2.6 app allows users to seamlessly share still images and videos with friends, families and followers. In addition to automatically sending gorgeous images to one’s phone, users now also have the ability to easily transfer video to their smart device quickly. The latest version of SnapBridge also supports RAW image transfer and advanced remote capture functions.

THE NIKKOR Z DX 16-50mm f/3.5-6.3 VR & NIKKOR Z DX 50-250mm f/4.5-6.3 VR – NEXT GENERATION DX-FORMAT NIKKOR LENSES

The new NIKKOR Z DX 16-50mm standard zoom and the NIKKOR Z DX 50-250mm telephoto zoom lenses are designed to complement the new Z 50, striking the balance of small size and sharp optics. The NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens is a slim zoom lens that lets users capture a wide variety of scenes, from beautiful landscapes to candid portraits. The compact telephoto NIKKOR Z DX 50-250mm f/4.5-6.3 VR lens allows anyone to go the extra distance and capture far-away subjects, like city skylines or birds in flight. When paired with the new lenses, Dual Detect Optical VR is enabled on the Z 50 to help control the effects of camera shake when shooting.

Both the new NIKKOR Z DX lenses unleash the potential of the Nikon Z mount, using the superior design flexibility made possible by the large-diameter and the 16mm flange focal distance to deliver outstanding optical performance and sharpness in a deceptively compact form factor.

In addition to achieving incredible image quality, the new NIKKOR Z DX lenses are optimized for video capture when paired with the Z 50, making them must-haves for emerging content creators. Both lenses promise reduced focus breathing, a customizable control ring for smooth control of aperture or exposure compensation, as well as fast and quiet operation. Additionally, the new lenses offer in-lens optical Vibration Reduction (VR) technology to allow for smooth recording, with camera shake compensation equivalent to 4.5 stops³ and 5.0 stops³, respectively.

Beyond these two new lenses, Nikon Z 50 users can enjoy greater variety in imaging expression by mounting any of the current lenses in the NIKKOR Z lineup. A vast selection of traditional F-Mount NIKKOR lenses is also available to shooters via the Mount Adapter FTZ, with many lenses retaining functions such as VR and AF.

Price and Availability

The Nikon Z 50 will be available in November 2019, in several configurations including body-only for a suggested retail price (SRP) of $ 859.95*, a one-lens kit with the NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens for a SRP of $ 999.95* or a two-lens kit with both the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR lenses for a SRP of $ 1349.95.

For more information on the latest Nikon products, including the new Nikon Z 50, NIKKOR Z DX 16-50mm f/3.5-6.3 VR, NIKKOR Z DX 50-250mm f/4.5-6.3 VR and the full Nikon Z mount system, please visit www.nikonusa.com.

The maximum sensitivity available with movie recording is ISO 25600.
For information regarding smart device compatibility and to download the appropriate app for the Nikon cameras with Wi-Fi capability built-in, NFC capability built-in, and/or Bluetooth capability built-in, please visit nikonsnapbridge.com. Please Note: Nikon cameras having Bluetooth built-in can only be used with a compatible smart device with Bluetooth 4.0 or later (i.e., a smart device that supports Bluetooth Smart Ready/Low Energy).
Measured in accordance with CIPA standards. When a mirrorless camera equipped with an APS-C size image sensor is used. Measured at the maximum telephoto position.

^*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon Z50 specifications

Price
MSRP	$ 859 (body), $ 999 (w/16-50mm lens), $ 1349 (w/16-50 and 20-250mm lenses)
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	5568 x 3712
Image ratio w:h	1:1, 3:2, 16:9
Effective pixels	21 megapixels
Sensor photo detectors	22 megapixels
Sensor size	APS-C (23.5 x 15.7 mm)
Sensor type	CMOS
Processor	Expeed 6
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-51200 (expands to 204,800)
Boosted ISO (maximum)	204800
Custom white balance	Yes
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, normal, basic
File format	JPEG (Exif v2.31) Raw (NEF, 12/14-bit)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	209
Lens mount	Nikon Z
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3.2″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	1.02× (0.68× 35mm equiv.)
Viewfinder resolution	2,360,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Scene modes	"Autumn Colors Beach / Snow Blossom Candlelight Child Close-up Dusk/Dawn Food Landscape Night Landscape Night Portrait Party/Indoor Pet Portrait Portrait Sports Sunset Special Effect Modes
Built-in flash	Yes
Flash range	7.00 m (at ISO 100)
External flash	Yes (via hot shoe)
Flash X sync speed	1/200 sec
Drive modes	Single Low-speed continuous High-speed continuous Self-timer
Continuous drive	11.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Highlight-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV steps)
WB Bracketing	Yes
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p, MOV, H.264, Linear PCM 3840 x 2160 @ 25p, MOV, H.264, Linear PCM 3840 x 2160 @ 24p, MOV, H.264, Linear PCM 1920 x 1080 @ 120p, MOV, H.264, Linear PCM 1920 x 1080 @ 100p, MOV, H.264, Linear PCM 1920 x 1080 @ 60p, MOV, H.264, Linear PCM 1920 x 1080 @ 50p, MOV, H.264, Linear PCM 1920 x 1080 @ 30p, MOV, H.264, Linear PCM 1920 x 1080 @ 25p, MOV, H.264, Linear PCM 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-II supported)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
USB charging	Yes
HDMI	Yes (micro HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	802.11ac + Bluetooth
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	Yes
Battery	Built-in
Battery description	EN-EL25 lithium-ion battery & charger
Battery Life (CIPA)	320
Weight (inc. batteries)	450 g (0.99 lb / 15.87 oz)
Dimensions	127 x 94 x 60 mm (5 x 3.7 x 2.36″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Nikon Nikkor Z DX 16-50mm F3.5-6.3 VR / 50-250mm F4.5-6.3 VR specifications

	Nikon Nikkor Z DX 16-50mm F3.5-6.3 VR	Nikon Nikkor Z DX 50-250mm F4.5-6.3 VR
Principal specifications
Lens type	Zoom lens
Max Format size	APS-C / DX
Focal length	16–50 mm	50–250 mm
Image stabilization	Yes
CIPA Image stabilization rating	4.5 stop(s)	5 stop(s)
Lens mount	Nikon Z
Aperture
Maximum aperture	F3.5–6.3	F4.5–6.3
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	7
Optics
Elements	9	16
Groups	7	12
Special elements / coatings	1 ED + 4 aspherical elements, Super Integrating Coating	1 ED element, Super Integrated Coating
Focus
Minimum focus	0.20 m (7.87″)	0.50 m (19.69″)
Maximum magnification	0.2×	0.23×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	No
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	135 g (0.30 lb)	405 g (0.89 lb)
Diameter	70 mm (2.76″)	74 mm (2.91″)
Length	32 mm (1.26″)	110 mm (4.33″)
Sealing	No
Colour	Black
Zoom method	Rotary (extending)
Filter thread	46 mm	62 mm
Hood supplied	No
Tripod collar	No

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Review: Sony A7R IV Mirrorless Camera

09 Oct

The post Review: Sony A7R IV Mirrorless Camera appeared first on Digital Photography School. It was authored by Anabel DFlux.

Having just purchased the Sony A7r III earlier this year, I didn’t expect to add another camera to my collection so quickly. Until… the Sony A7r IV announced it was on pre-order. Typically, I will not invest in yet another body unless something truly monumental comes about, and this was such a situation. The A7r IV is a piece of machinery unlike any other – and I don’t regret a single dime spent. This Sony A7r IV review will explain why.

Mirrorless versus Digital

Review: Sony A7R IV Mirrorless Camera

By now, 2019, many photographers are well aware of mirrorless cameras invading the digital photography market. Just to refresh on some of the key differences in technology between DSLRs/SLRs and mirrorless cameras…

Mirrorless cameras, as the name suggests, does not utilize a mirror to reflect the image to the viewfinder. The way that a digital camera works is that a mirror inside the camera reflects the light up to the optical viewfinder. This is also how you see the image before you take it.

In a mirrorless camera, the imaging sensor is exposed to light at all times. This gives you a digital preview of your image either on the rear LCD screen or an electronic viewfinder (EVF). This allows you to see exposure changes in real-time on a mirrorless camera. The lack of a mirror also aids in the camera’s size, allowing the mirrorless model to be smaller and lighter than a traditional DSLR.

DSLR aficionados don’t trust the digital viewfinder portrayal in mirrorless cameras as this is system-based, while the DSLR uses a practical application to show a true-to-life, through-the-lens optical viewfinder system. This uses a series of mirrors to reflect light to your eye. However, as a new mirrorless user, I can testify that the electronic viewfinder display is extremely accurate to the image I create when clicking the shutter button.

In regards to quality, both can excel in optical quality, image sensors, technical aspects, and adeptness at shooting conditions. Both are equally spectacular, with each model having its own pros and cons (of course). It does come down a lot to personal choice.

Specifications

Sony-A7r-IV-review

Now that we’ve gotten that out of the way, let’s get back to the drool-worthy A7r IV. The specifications of this newest member to the Alpha line is what made me fall out of my seat and need to order this model.

And it has not disappointed.

A true feat of modern technology, it includes the following specs:

A whopping 61 MP, 35 mm full-frame Exmor R CMOS and enhanced processing system. This produces an image sized at 9504 x 6336. For landscape and commercial photographers, the a7r IV features a 240MP pixel-shift mode.
ISO 100–32000 (ISO numbers up from ISO 50 to ISO 102400 can be set as expanded ISO range.)
Fast Hybrid AF with Wide (567-points (phase-detection AF), 425-points (contrast-detection AF))/Zone/Center/Flexible Spot (S/M/L)/Expanded Flexible Spot/Tracking (Wide/Zone/Center/Flexible Spot (S/M/L)/Expanded Flexible Spot) The focus modes include AF-A (Automatic AF), AF-S (Single-shot AF), AF-C (Continuous AF), DMF (Direct Manual Focus), Manual Focus.
Eye-start AF, Lock-on AF [Still] Human (Right/Left Eye Select)/Animal, [Movie] Human (Right/Left Eye Select), AF micro adjustment, and predictive AF control.
High-speed continuous shooting of up to 10fps12 with AF/AE tracking.
5-axis image stabilization with 5.5-stop exposure advantage20.
4K video in full-width and crop modes.
Dual card slots with simultaneous or consecutive recording.
Silent Shooting Mode.
You can operate the camera via newly supported wireless PC Remote functions via Wi-Fi.

Sony-A7r-IV-review

Much like the other models in the Alpha line, this camera is an E-mount that only accepts E-mount lenses (unless you use an adapter). The awesome thing about E-mount, though, is that many brands (alongside Sony) make lenses for it, including Zeiss, Sigma, and Tamron.

Build

Sony-A7r-IV-review

I did not expect a redesign of the A7r IV body. Silly me! I expected a perfect replica of the A7r III with more advanced technology. In fact, the A7r IV has improved upon its predecessor’s body and ergonomics. They have changed the design, proving that Sony listened to photographer complaints and suggestions when redesigning this camera.

Firstly, the grip is different. Sony modified the contour, and the grip has deepened – for lack of a better term. I found it to be much more comfortable, and my hand cramped less during prolonged use (photographers, you know what I’m talking about here).

The camera grip reminded me of my large DSLRs rather than a mirrorless, and I liked that a lot. While I have small, feminine hands, I am sure this new grip design will work nicely with larger hands too.

Sony has also redesigned the buttons. They’re softer and “squishier” to the touch. There is also a redesigned joystick and an amended exposure compensation dial that now includes a lock button (thankfully!).

Sony-A7r-IV-review

A big change is the card slot door. The new card door no longer needs a lock lever. Just pull straight back like Canon and Nikon. This provides a much tighter seal as well. Oh, and speaking of cards…Slot 1 is now on the top, not backward like the A7r III (which constantly confused me).

The Sony A7r IV is sized at 5.07 x 3.8 x 3.05″/128.9 x 96.4 x 77.5 mm and 1.46 lb/665 g.

Ease of use

Sony-A7r-IV-review

In my brain, Sony Alpha and ease-of-use are synonymous phrases. This camera is quick to set up, even simpler to use, and you can run off and play immediately when the battery is charged. The menu and settings are intended for professionals, but if you’ve been doing photography and understand how a camera works, figuring it out is quick.

I’ve heard complaints about the Sony menu, but I’ve personally not had any problems with it. I easily found everything I needed and do all of my adjustments within about 10 minutes.

This is coming from a Canon user that features an entirely different menu.

I do wish the eye-tracking mode was an actual button on the camera as you can switch between Human subject or Animal subject. It would be convenient to have this as a button rather than having to dig into the menu to change this feature. I find myself continually changing it back and forth (being both a human and a pet photographer).

Autofocus, sharpness, and clarity

Sony-A7r-IV-review

Just one word: phenomenal.

I could end the review with just that one word and be satisfied. However, to go into detail…the autofocus is lightning sharp. Definitely the fastest autofocus of all of my cameras – and I have a lot of them! I find the autofocus to be even faster and more accurate than the A7r III – and that’s saying a lot, as the A7r III is very fast as well.

I’ve captured dogs running – high speed – directly at my camera without even losing focus on their eyes for a second. That is how superb the eye-tracking mode is. I see a lot of use for this camera in sports photography if you have large enough cards to accommodate the 61-megapixels, of course! You can bring the camera down to 24-megapixels if needed, but that’s no fun.

Review: Sony A7R IV Mirrorless Camera

The predictive AI focus has truly revolutionized the way you can photograph subjects moving erratically or quickly, and I am living for it. This has made my job much easier with pets, or little humans that love to run away from mom!

In regards to sharpness and clarity, (while much of the final quality and look comes from the lens), in this case, the camera plays a big role. This is where the Sony mirrorless cameras begin to stand out significantly. The images are extremely sharp and clear. To some, maybe even artificially so. The look is very distinct. Professional photographers can quite easily pick out a Sony mirrorless photograph from the rest. The 61-megapixels show an immense amount of detail, excellent for commercial and detail work.

Buffering

Review: Sony A7R IV Mirrorless Camera

Despite the enormous amount of megapixels, the A7R IV can still fire up to 10 frames-per-second with autofocus and autoexposure active. That’s impressive! The camera can keep at this for up to 68 compressed raw images.

Color rendering

Review: Sony A7R IV Mirrorless Camera

With vivid, vibrant, and deep colors, there is little editing I need to do with this camera. Even in low light, the colors tend to be quite true. The dynamic range is superb with 15-stops of dynamic range. I have been able to pull incredible details, colors, and information from darker images.

Low light capability

Review: Sony A7R IV Mirrorless Camera

The only gripe I have with this model is the low light capability is not improved over its preceding version. That doesn’t mean that the low light capability is bad – it’s just not better. For a camera that has improved in so many ways, I would have liked to see an even better low light sensor in this particular model.

However, the larger megapixel count does allow for significantly more manipulation, and it hasn’t phased me to take care of noise through a quick flick of the Noise slider in Lightroom. Ideally, it would have been nice not to need to do this.

With that said, I have not personally noticed worse noise at the same ISO levels, as some photographers have reported. The autofocus in low light is superb. It’s great for my concert photography endeavors, and even better than the firmware update on my A7r III.

Battery life

Review: Sony A7R IV Mirrorless Camera

For battery life, my original frame of reference is my many Canon DSLR cameras. The 5D Mark IV, 5D Mark III, 7D Mark II, and 1Dx Mark II are the models I use. In my experience, Sony batteries are not nearly as powerful or long-lasting as Canon batteries. However, this makes sense, as the power necessary to operate a mirrorless tends to be more draining than the DSLRs due to the mirrorless cameras using a digital viewfinder and LCD display.

When I purchased my first Sony camera, I went ahead and bought a second battery. The battery is the same as the one that the Sony A7r IV uses, so now I have two additional batteries for it. I am glad that I did because the battery does not last me all day like Canon cameras. I seldom end up switching to a second Canon battery. Even after shooting a dog agility trial for eight hours without turning the body off. On the Sony, I found myself switching the battery mid-day on all-day shoots.

It is key to note I am not using a battery grip. With a battery grip, the power lasts significantly longer.

However, when comparing to Sony itself, the battery in the newer Alpha series cameras are significantly better and far more superb than previous models. The Sony NPFZ100 Z-Series Rechargeable Battery is no joke – far more powerful than the previous batteries used by the company.

Final thoughts

Review: Sony A7R IV Mirrorless Camera

Do you need the power of the Sony A7r IV? Generally, probably not. For specialty work? Absolutely. The specifications are very much overkill for the average photographer, but for those that have found a use for its tremendous amount of megapixels or the ease in which the AI focuses, this is absolutely a worthy investment.

It’s likely great enough to sell prior pieces of equipment in order to buy the A7r IV.

I work a lot in commercial photography, and this camera allows me to better produce commercial imagery for my corporate clients – something I couldn’t pass up.

Would you like to own this camera? Why? Or are you lucky enough to have you tried the Sony A7r IV? What are your thoughts? Share with us in the comments!

The post Review: Sony A7R IV Mirrorless Camera appeared first on Digital Photography School. It was authored by Anabel DFlux.

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Nikon to Produce Mirrorless Crop-Sensor Camera and Two Z Lenses

28 Sep

The post Nikon to Produce Mirrorless Crop-Sensor Camera and Two Z Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

nikon-z50

Up until now, Nikon has stayed out of the mirrorless APS-C (crop-sensor) camera space. They’ve let Sony and Fujifilm take the lead with their respective a6000 and X-T lineups. Even Canon, which stands at the back of the mirrorless pack, has produced its ‘M’ series.

But things are changing in the digital camera world, especially as DSLRs lose ground to mirrorless systems and DSLR lineups get shelved. Nikon, a (relatively) small company surrounded by big players, has pushed innovation, bringing out the full-frame Z6 and Z7 last fall. The Z7 immediately made waves in the mirrorless camera world with its 45.7-megapixel sensor and impressive low light performance.

And now Nikon is trying to do it again.

Recent rumors indicate that Nikon will soon be entering into the APS-C mirrorless world with the Nikon Z50, a mirrorless body with a 20-megapixel sensor.

Other reported specs include a 3-inch LCD, an 11 frame-per-second continuous shooting speed, and an electronic viewfinder.

For Nikon DSLR photographers who have been thinking about moving to mirrorless, this will come as a welcome surprise, especially if you’ve been put off by the high price of the Nikon Z6 and Z7. This new camera is aimed at the enthusiast crowd, with its electronic viewfinder and 11 fps continuous shooting speed putting it a cut above entry-level bodies.

The 20-megapixel sensor is a step down in resolution from competing Canon, Fujifilm, and Sony models, but the camera could impress in terms of autofocus and action shooting, possibilities that are hinted at with the 11 fps continuous shooting speed.

The Nikon Z50 should also give you access to the Nikkor Z lenses. The lineup is currently very heavy on wide and standard lenses, but that’s bound to change as Nikon dedicates more and more resources to its mirrorless engineering. And the Z50 rumors come alongside talk of two new Nikon Z lenses: the Z-Nikkor 16-55mm f/3.5-6.3 DX lens and the Z-Nikkor 50-250mm f/4.5-6.3 DX lens.

(Note the ‘DX’ label: Neither of these lenses can be used on full-frame mirrorless bodies.)

These are kit lenses, through and through, and it remains to be seen how they perform. But I have high hopes for Nikon’s mirrorless lineup, especially as it begins to round itself out.

Now it’s your turn:

What do you think about the Nikon Z50? Is it something you’d be interested in? Or were you hoping to see a Z6/Z7 upgrade? Share your thoughts in the comments!

The post Nikon to Produce Mirrorless Crop-Sensor Camera and Two Z Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Canon to Produce an 80-Megapixel Mirrorless Camera

17 Sep

The post Canon to Produce an 80-Megapixel Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-80mp-camera If you’ve been hoping Canon will produce a high-resolution professional mirrorless camera, then you’re in luck.

Rumors that Canon has been working on a 70 or 80-megapixel mirrorless camera have been swirling for months, but several new pieces of information make it more likely than ever.

First, Canon has filed a patent for an 83-megapixel sensor, which may be at the heart of a new mirrorless camera body.

Second, someone claiming to have a prototype of the new camera has just revealed specs, including:

An 80-megapixel full-frame sensor
A larger viewfinder than the Canon EOS R
Dual SD card slots
A new joystick
A larger size than the Canon EOS R

If these details are accurate, then the new camera (dubbed the Canon EOS RS by Canon Rumors) will likely be a mirrorless replacement to the Canon 5DS/5DS R duo. The two DSLR cameras debuted in February of 2015, and Canon has failed to update them in the years since. Most notable about the two cameras are their sensors: 50.6 megapixels – the largest full-frame sensors in existence at the time.

The dual card slots will be a particularly welcome addition to the Canon EOS RS. Many professional photographers passed over the EOS R based on its single card slot, and it seems Canon got the message. So for photographers who require redundancy in their work, the Canon EOS RS will be a good choice.

And if the Canon EOS RS is truly 80+ megapixels, commercial photographers will appreciate the opportunity to push resolution to its limits.

Such a high-resolution sensor has its drawbacks, however. The larger the files, the faster you’ll fill up space. Plus, a sensor with 80 megapixels will have high pixel density, leading to small pixels. This can be a problem with regard to noise production: the smaller pixels are more likely to produce noise at high ISOs.

Let’s just hope that Canon puts out a high-quality sensor to complement the megapixel count! If you’re a Canon fan looking to make the change to mirrorless, then keep an eye out for news on the Canon EOS RS, which will likely be announced at the start of 2020.

Would you purchase the Canon EOS RS for its 80+ megapixels? Share your thoughts with us in the comments.

The post Canon to Produce an 80-Megapixel Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.