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Posts Tagged ‘REVIEW’

Comparative review: The best pocket printer in 2019

27 Jan
From left to right: Fujifilm Instax Share SP-2, Canon Ivy, Polaroid ZIP

With the resurgence of the instant camera, photographers and non-photographers alike have found a new love for printed photos. Enter pocket printers, a recent addition to the accessories market that offer portable, fast and simple photo printing. These pocket printers all work in basically the same way: They’re powered by rechargeable batteries, and once you connect your smartphone or camera via Wi-Fi/Bluetooth you pick your image, make an edit via the app (if you want to) and then click print.

Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2

For a lot of photographers, these printers will feel a little gimmicky, but that doesn’t mean they aren’t useful and fun. So, we took three of the most popular models and played around with them to see which one we like best. Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2, though it should be noted that many other brands have comparable offerings including HP and Kodak.

Specifications compared

Polaroid ZIP Canon IVY Fujifilm Instax Share SP-2
Dimensions 2.9 x 4.7 x 0.9 in 3.2 x 4.7 x 0.7 in 3.5 x 5.2 x 1.5 in
Weight 6.6 oz. (186g) 5.6 oz. (159g) 8.8 oz. (250g)
Powered by Micro USB Micro USB Micro USB
Battery Rechargeable 500mAh Lithium Polymer battery Rechargeable 500mAh Lithium Polymer battery Rechargeable 500mAh Lithium Polymer battery
Charge Time 1.5 hours 1.5 hours 1.5 hours
Prints per charge 25 20 20
Print time ~45 sec ~51 sec ~20 second + ~5 minutes to develop
Print paper / ~cost per shot Zink photo paper / ~$ 0.50 per shot Zink photo paper / ~$ 0.50 per shot Instax Mini /
~$ 0.50 per shot
Print format 2 x 3 in 2 x 3 in 1.8 x 2.4 in
Connectivity Bluetooth Bluetooth Wi-Fi
Price $ 99.95 $ 129.99 $ 139.95

Spec-wise, the Canon and Polaroid are virtually the same (this will come up again). With that out of the way, lets start with the obvious. The Fujifilm is a bit thicker and heavier than the other two. While the Canon and Polaroid are pretty comparable to a portable hard drive, the Fujifilm feels closer to single-serving cereal boxes in size. While the size is definitely noticeable, the weight difference is pretty negligible given that none of these printers are heavy by any stretch of the word.

To get an idea of their size, here’s all three printers next to a standard pack of playing cards.

The other major difference comes down to the printing format. The Polaroid and Canon both use ZINK paper (meaning, Zero Ink). This process works through cyan, yellow and magenta layers within the paper that respond to heat provided by the printer, making your photo possible. Meanwhile, the Fujifilm uses the same instant film as the Fujifilm Instax Mini line of cameras. (Note: Fujifilm also offers a square format printer that we assume works identically) ZINK paper prints as a 2″ x 3″ image with no border (by default, more on that later) on a sticky backed paper (read: sticker) while the Fujifilm instant film prints a 1.8″ x 2.4″ image with the instant film border that we all know and love (or maybe just know… I love it, but that’s just me).

Polaroid ZIP Canon Ivy

Design wise, the Polaroid and Canon basically just look like cute little hard drives and the Fujifilm has kind of an odd sleek sci-fi aesthetic to it. The Polaroid and Canon are available in a couple of colors (mostly pastels,) while the Fujifilm is available in silver or gold. The corners on the Polaroid and Canon are very round while they are a little more angular on the Fujifilm but still not sharp in any sort of way. The Canon also features a small loop for a strap.

In use

Ultimately, these three printers work in very similar ways. Of the three apps the design on the Canon app is definitely the most attractive though the Polaroid app is in a close second with just little bit less attention paid to how things flow. The Fujifilm app is ugly with colored tiles that feel like they were picked with very little design intent. That being said, I actually found that the interface of the Fujifilm app was the best when it came to usability. The differences here are minimal and in the end each app worked just fine.

One nice touch on the Fujifilm is that it will display the number of prints left

The apps feature a slew of options and customizability including: frames you can add to your photos, filters, basic color and exposure adjustments, cropping, and “stickers” you can add on top of photos. Outside of the frames, I didn’t find much appeal in most of these features. The color and exposure adjustments I tried seemed to only degrade the image quality and didn’t improve things much. I would say you’re better off using whatever editing software your smartphone comes with and just printing the edited photo through the printer’s app.

An example of one of the many lovely border options on the Polaroid ZIP app. Note: the sticker peeling after ~2 weeks.

Physically, they’re all fairly portable (though again, the Fujifilm less so), charge with a simple Micro USB cable, and use a variety of green, red and white lights to indicate their charging status or if there’s an error. One nice touch on the Fujifilm is that it will display the number of prints left in the pack when you turn it on. Loading film into all three of these is as easy as can be though the Fujifilm requires some reading/fiddling to figure out the first time.

The Fujifilm also allows you to remove and replace the NP-45S battery

Another nice feature on the Fujifilm is that it stands up on it’s own, taking up less desk space. The other two can only lay flat. The Fujifilm also allows you to remove and replace the NP-45S battery while the other two don’t have removable batteries.

All three of these printers were fun and easy to use.

In terms of the print time, there’s a clear winner: Fujifilm. If you’re looking to hand out prints fast, the SP-2 can churn them out in 20 seconds. That said, the 45-60 second range of the Polaroid and Canon didn’t feel excessive at all.

Lastly, the Fujifilm has one very big feature that only applies to those that own other modern Fujifilm cameras. Unlike the Polaroid and Canon (and most other pocket printers on the market) the Fujifilm can print directly from a handful of Fujifilm cameras. The compatible models are as follows: GFX 50S, GFX 50R, X-H1, X-Pro2, X-T3, X-T2, X-T20, X-T100, X-E3, X-A5, X100F.

Print Quality

The prints are just a bit smaller than an average playing card (left to right: Fujifilm, Canon, Polaroid).

Well let’s just get this right out of the way – compared to a dedicated inkjet photo printer, they all suck. These 3 pocket printers are exactly that, pocket printers. If you’re expecting true high quality prints out of these things then you’ll be disappointed.

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Let’s talk about the Polaroid and Canon prints first. I noticed a lot of over-sharpening in these both. Interestingly, despite the near-identical design, they show a really obvious difference in their prints; the Polaroid leans warmer and the Canon leans cooler. The Canon prints also seem to have a bit less of that over-sharpening which definitely helps in making people’s skin look more natural. Definitely keep in mind that these are small prints. Not your standard 4×6 but rather, half of that.

Keep in mind that these are small prints. Not your standard 4×6 but rather, half of that

As for the Fujifilm, because it uses instant film as opposed to photo paper, there’s a much different look to these prints. They’re soft and almost blurry, especially in comparison to the look of the Canon and Polaroid. The color seems to lean a bit cooler as well but I found that the color reproduction on the Fujifilm prints was without a doubt the best of the three. The Fujifilm prints also have a glossier finish than the others.

And the winner is… Fujifilm

Film (or paper) will cost money.

The Polaroid and Canon are extremely portable and if nothing else make for a really easy way to print custom stickers that reference specific memories you’ve captured on your phone. But the Fujifilm Instax Share SP-2 produced the most-pleasing images, prints the fastest, can connect to Fujifilm cameras and indicates the number of prints left. For that reason, it’s our choice.

Our pick: Fujifilm Instax Share SP-2

What we like:

  • Most pleasing print-quality
  • Prints in 20 secs
  • Indicator for number of prints left
  • Stands up-right
  • Print directly from Fujifilm digital cameras

What we don’t:

  • Larger and heavier than the competition
  • App design is ugly
  • Prints are pricey

Note: All of the images printed were taken with and printed from the apps on a Samsung Galaxy S9.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Olympus E-M1X Review

25 Jan

Olympus just announced its new flagship camera, the OM-D E-M1X, and Chris and Jordan are already here with their review. Tune in to see them put this new model to the test in the frozen north, and find out what they think of it.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Opening sequence
  • Introduction
  • Jordan's video settings
  • Ergonomics and controls
  • Live ND
  • Handheld high-resolution mode
  • Sunset shooting
  • Autofocus modes and performance
  • Weather sealing
  • EVF and LCD panel
  • Image stabilization
  • Final thoughts

Images from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Olympus E-M1X review in progress

24 Jan

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The Olympus OM-D E-M1X is a dual grip Micro Four Thirds mirrorless camera aimed at pro sports and action photographers. It’s designed to be rugged, durable, fast and capable, and has a price tag to match that ambition.

The EM1X uses fast readout and fast processing both to provide high-level AF performance and a range of novel modes and features. It also promises new levels of performance in terms of weather resistance and image stabilization.

Key Specifications

  • 20MP Four Thirds sensor
  • 121-point autofocus system with deep learning-based subject recognition
  • Hand-held high-res shot mode
  • Up to 60 fps Raw + JPEG capture (up to 18 fps with autofocus)
  • Pro Capture mode records frames before you hit the shutter
  • Up 7.5EV of image stabilization with supported lenses
  • ‘Live ND’ multi-shot mode simulates ND filters
  • Large 2.36M-dot LCD viewfinder able to work at up to 120fps
  • Dual BLH-1 batteries giving 870 shots per charge (CIPA)
  • Dual UHS-II SD memory card slots
  • Extensive direct control, dual AF joysticks, articulating touchscreen
  • UHD 4K/30p video and DCI 24p at up to 237Mbps
  • Extensive, IPX1-rated weather sealing
  • USB charging

To a degree the E-M1X resembles a twin-grip E-M1 II with more powerful processors and two batteries. What makes the camera interesting is what it does with that extra power.

The E-M1X will go on sale in February at an MSRP of $ 2999, CAN $ 3899, €2999 and £2799.


What’s new and how it compares

The E-M1X brings improved AF, a hand-held high res mode and Live ND as the headline updates.

Click here to see what’s new

Body and Handling

The E-M1X is the first Olympus digital camera to offer the dual-grip design favored by pro sports cameras. It’s also one of the few to receive a formal rating of its environmental sealing.

Click here for more

Controls and Operation

There are plenty of direct control points on the E-M1X but also a lot that can be customized.

Click here for details

Video overview

The E-M1X’s video spec is very similar to that of the E-M1 Mark II, which means high bitrate DCI 4K but only at 24p

Click here to read about the camera’s video

Shooting Experience

Carey Rose was impressed by the performance of the E-M1X at a pre-launch shooting event, but there are some things he’d like to see improved.

Read about shooting with the E-M1X

Sample gallery

We’ve been shooting extensively with the OM-D E-M1X: here are the images we’ve got so far:

Click here for samples

Specifications

See a breakdown of what the Olympus OM-D E-M1X offers.

Click here for specifications

Articles: Digital Photography Review (dpreview.com)

 
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Review: Nikon Z 50mm F1.8 S

24 Jan

Nikon Z 50mm F1.8 S
$ 599
www.nikon.com

Gold Award

93%
Overall score

One of three lenses launched alongside the Nikon Z6 and Z7, on the face of it the Z 50mm F1.8 S might appear the most pedestrian of the group. It’s hard to get too excited about a medium-fast 50mm these days, but in its promotional literature Nikon claimed that its latest standard prime is anything but a standard standard. In fact, the company claimed that the Z 50mm S would offer superb resolving power, low aberrations and excellent wide-aperture performance, impressive enough to challenge assumptions about what lenses of this type should be capable of.

The Nikon Z 50mm F1.8 is twice as heavy, twice as large and about twice the price of the company’s equivalent lens for F mount – but is it twice as good? We’ve been shooting with one for a few weeks, and one thing’s for sure – it’s a radically different lens.

Key specifications:

  • Focal length: 50mm
  • Format: Full-frame
  • Aperture range: F1.8-16 (1/3EV steps)
  • Filter thread: 62mm
  • Close focus: 0.4m
  • Hood: Included HB-90, bayonet attachment.
  • Length / Diameter: 76 x 86.5mm
  • Weight: 415g (14.7oz)
  • Optical construction: 12 elements in 9 groups, including Nano Crystal Coating
  • Special elements: 2 ED, 2 Aspherical.

Compared to its nominal F-mount equivalent, the Z 50mm F1.8 S is an obvious step up in terms of optical technology. Featuring advanced coatings, almost twice the number of elements (including two aspherical and two ED) and three additional groups, the new prime is substantially more complex. Compare this to the single aspherical element in the F-mount version (itself a novelty when the lens was introduced in 2011) and it’s obvious that Nikon has taken the opportunity to completely redesign its newest standard lens for the radically different dimensions of the new Z mount.

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Design and handling

The Z 50mm F1.8 S is as different optically to its F-mount predecessors as it is cosmetically. Somewhat reminiscent in overall look and feel to a modern Sony ZA or Sigma Art-series prime, the new lens is smooth, stylish and simple in design. Constructed from a mixture of polycarbonate and aluminum, the barrel of the 50mm is dominated by a wide and well-damped metal focus ring. A single A / M focus switch is the only other moving part. Since the new Z-series cameras feature in-body stabilization, the lens itself is unstabilized.

‘Build quality’ is a notoriously hard quality to measure, and one that we have to assess subjectively, on the basis of anecdotal (but as extensive as we can manage) experience. The Z 50mm F1.8 looks nice, handles well, feels neither too heavy nor too light, and appears to be manufactured to a high standard. There is no give in the focus ring, no wobble in the mount, and after weeks of use it hasn’t fallen apart in my hands. Etc., and so on.

In common with other prime lenses we’ve seen that are specifically designed for mirrorless camera systems, the Z 50mm F1.8 S has a relatively small, concave front element.
The only physical switch on the barrel of the Z 50mm F1.8 is for manual / automatic focus. Since the Z6 and Z7 feature in-body Vibration Reduction, there’s no need for the lens to be stabilized.

Less anecdotally – and more importantly – we’ve put the Z 50mm F1.8 to pretty hard use in the past few weeks. Unusually hard, in fact. I’ve spent hours with the Z7 and 50mm shooting in extremely wet and windy conditions on multiple occasions recently, working on a photo project on Washington’s Pacific coast. In rain heavy enough to somehow soak down, under, into and around multiple layers of waterproof clothing, the Z7 and Z 50mm F1.8 kept on working without any serious problems.

The only issue I had after extended exposure to the elements was a very occasional glitch where the Z7 would switch out of automatic focus and into MF mode. Re-seating the lens in the mount was enough to clear the problem. Whether the issue was caused by moisture getting into the camera (I didn’t see any when I looked later) or into the M / A switch on the lens I don’t know. Either way it didn’t prevent me from working.

This image shows the rubber gasket around the Z 50mm F1.8’s mount, which helps keep dust and moisture from getting into the camera. Our experience shooting with the lens in exceptionally wet conditions suggests that it’s highly effective.
This is the Z 50mm F1.8 S side-by-side alongside the Z 35mm F1.8 S. Good luck telling these lenses apart if you’re fishing around inside a camera bag.

We already know from Roger Cicala’s tear-down that the Z7 is impressively well-sealed, and while the Z 50mm F1.8 S might not be gasketed to the same standard (we won’t know that for sure until Roger takes one apart), it certainly seems very well sealed from my experience.

One frustration – although it’s not the optical designers’ fault – the new 50mm and 35mm F1.8 Z primes are so similar to one another cosmetically, that they’re almost impossible to distinguish in a camera bag. They’re almost the exact same size and shape, very similar in weight, and both use a 62mm cap. A Nikon Z shooter carrying both would practically be forced to label them in some way to avoid mixups in the field. Ditto the HB-89 and HB-90 lenshoods, which are mechanically interchangeable and almost indistinguishable (to the extent that I have no idea why Nikon bothered to make two different hoods), but which are frustratingly shy of being exactly identical.

Focus

The Z 50mm F1.8 S is an internal focus design (the lens doesn’t get bigger or smaller when focusing) and in normal or bright lighting conditions, it focuses quickly and accurately on a Z6/7. Autofocus actuation from the stepping motor isn’t as fast as Nikon’s snappiest F-mount zooms with more powerful ring-type AF motors, but it’s at least as fast as most of the company’s older primes and good enough for rapid acquisition of most subjects. The Z 50mm F1.8 S focuses slightly faster than the Z 35mm F1.8 S but there’s not much to choose between them.

As well as being rapid, autofocus is effectively silent, too. Video shooters might detect a subtle ‘zip’ sound on the in-camera audio as the lens makes large focus adjustments, but it’s very subtle. Normal video AF movements are slow and smooth enough (this can also be customized) that you probably won’t notice it, even if you’re relying on the in-camera microphones for sound.

The large focusing ring makes up most of the length of Z 50mm f1.8 S’s lens barrel, and offers fine-geared control over focus via a ‘focus by wire’ system.

The Z 50mm F1.8 S uses a ‘focus by wire’ system for manual focus, which offers very precise control from the wide, nicely-damped focus ring. The movement is speed-sensitive, not linear, meaning that a slow rotation of the ring will result in a similarly slow movement of the focusing group. If you move the ring quickly, the motor will respond more rapidly and make a larger focus movement.

This is great for stills, but some videographers (especially those that use follow focus systems) might find themselves wishing for a linear response, where X degrees of movement of the ring always results in X amount of focus movement. This is less a criticism of the lens, more of the Z system at this point but we’re hoping that Nikon can adjust this behavior via firmware. Similarly, it would be nice to have the option of switching the direction of the manual focus ring, for photographers coming from different systems.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Sigma 60-600mm f/4.5 – 6.3 DG OS HSM for Wildlife Photography

23 Jan

The post Review: Sigma 60-600mm f/4.5 – 6.3 DG OS HSM for Wildlife Photography appeared first on Digital Photography School. It was authored by Ian Johnson.

Out of the box I was impressed with the build quality and features (particularly the Arca Swiss foot) of this lens.

In 2019, Sigma is bringing a new lens to their line up. The 60-600mm f/4.5 – 6.3 DG OS HSM (available for Nikon and Canon) offers flexibility and quality as a portrait and super telephoto lens. The lens, optimized for DLSR cameras (DG), features optical stabilization (OS) and Sigma’s Hyper Sonic Motor technology (HSM). This review focuses on the applications, strengths, and weaknesses for wildlife photography. In short, I found the image sharpness, build quality, and versatility of the lens to be good. The lens may not be suitable for a full professional looking for amazing bokeh of an f/4 or f/2.8, but many will find its flexibility and image quality to be more than satisfactory. For the nitty-gritty details read the rest of this article and view my final rating below.

First impressions

Out of the box, this lens has a great feel. At a little under 6 pounds (2.7kg), the weight lets you know the majority of its construction is from metal. The only pieces of plastic were the hood and lens cover. The weight is not surprising considering they have to pack in the elements to give you a 60-600mm focal length. I was surprised at how short the total length of the lens was considering its impressive ability to have a 10x optical zoom.

Here, the lens is mounted to a Nikon D810, which I used to test the lens

Build quality

There are some features out of the box that I noticed and appreciated immediately. Aside from the plastic pinch-style lens cap, the lens came with a padded Velcro hood cover. It was a quick way to protect the camera’s front element and provide some padding while in the case. The foot of the lens had Arca Swiss mounts built in removing the need to purchase a 3rd party plate if you use Arca Swiss tripod mounts. The hood mounted to the camera with a sturdy set screw rather than a twisting-lock design like many lenses have. Last, all mounts were metal, and the front element was large with very nice looking glass.

The rear element of the camera has all metal mounts

The front element of the lens has very nice looking glass

Image Quality

In the lab

To examine the sharpness of the lens I took a series of images at 60, 220, and 600 mm and throughout the range of apertures (wide open to closed) at each of the focal lengths. All images were taken from a tripod and in natural lighting. The images below are entirely unedited, and I have provided samples of a 2:1 crop at approximately the center edge of each image to examine sharpness. The captions of each image dive into my observations at each particular setting, but the trend was the same throughout the tests. Edges of images were soft up to about four f-stops over wide open. The lens had a predictable sweet spot between f/10 – f/16 where edge sharpness was excellent. Sharpness tapered off from f/16 to the maximum aperture.

At 60mm and wide open (f/4.5) there was noticeable softness in the edge of the image.

The sweet spot of the lens was at f/14 which provided sharp edges at 60mm.

When set at the smallest aperture there was some softness in the edge, but not nearly as much as shooting wide-open.

Set at wide open (f/5.6) and 220mm there was noticeable softness in the edges.

At 220mm, f/14 the edges were very sharp

While set at 220 mm and the smallest aperture (f/29) the edges were slightly soft, but not as soft as wide open.

At 600mm f/6.3 there was noticeable softness in the edges.

While at 600 mm the lens was sharpest at f/16

There was some softness in the image at 600mm and the smallest aperture (f/32)

I brought the lens into the field to make wildlife images and test out some of its qualities. I shot all of these photos and found them to be sharp and well stabilized. Sharpness would only improve with the use of a tripod. I will use the images to highlight the strengths and weaknesses of the lens.

I began to appreciate the incredible versatility of the broad focal range in this lens while in the field. Zooming out to 60mm allowed me to shoot contextual shots and wildlife portraits without moving my feet. The images of these swans were taken back to back – one at 60mm and the other at 600mm. The group of swans was about 40yards (~40m) away. These images are uncropped and unedited and show how the lens is capable of contextual and portrait scenes.

This image of a Trumpeter Swan was captured at 600mm. I was able to isolate it from the group thanks to the super-telephoto lens.

This image of a group of Trumpeter Swans was taken at 60mm and are about 40 yards away. You can see the sleeping swan on the left side of the ice that I zoomed in on for the image above. This image really shows off how much range you have between 60 and 600mm!

I was surprised by how close I was able to focus on a subject. At 600mm I was able to focus on subjects about 6 feet away. This was a huge, huge benefit for getting near-to full frame shots of small birds. The minimum focusing distance was noticeably shorter than other telephotos I have shot. The image of this small Black-capped Chickadee I shot at 500mm at a distance of about 7 feet. It is uncropped.

This Black-Capped Chickadee was perched about 7 feet away, and I was impressed that I was able to focus on it being that close.

As expected with a larger minimum f-stop (f/6.3 at 600mm) it was more difficult to get amazing bokeh and subject separation. To achieve the lens sweet spot it was necessary to shoot at an aperture between f/8 – f/14. Shooting at the sweet spot resulted in background elements being more noticeable. Even at 600mm and f/6.3, it was challenging to get subject separation. When photographing small birds, this often meant distracting sticks were left relatively in focus in the shot. Although I did not shoot in twilight conditions, it would be difficult to stop moving wildlife because of slow shutter speeds related to the minimum aperture.

This image was taken with the lens at 600mm, f/6.3. The relatively large minimum aperture left sticks in the background of the image.

600mm is a great reach, but what if you want to go even further? I used the internal 2x (DX) crop of my Nikon D810 to double the focal length for some shots. Even though I was effectively shooting at 1,200mm handheld, the optical stabilization (OS) system in the lens allowed me to shoot clean and sharp shots. I did not test this lens with any telephoto converters.

This timid Trumpeter Swan was shot using the DX crop built into my camera at an effective focal length of 1,200 mm. I was happy with the OS of the lens.

Focus, accuracy, speed

You may have noticed by now I was shooting in winter conditions while testing this lens. Even though temperatures were between 15-30F (-9 to -1degrees), the autofocus remained fast and quiet thanks to the HSM technology. I was impressed with the speed of the autofocus system in capturing moving birds.

I relied on the fast autofocus of the lens to lock onto this passing flock of Trumpeter Swans. This image was taken at 280mm and is uncropped.

Shots from the field

Here are a series of shots that I made with the Sigma 60-600 during my trials. Although I’m not using these to illustrate a specific point, I think the portfolio below can help you make your own deductions on what this lens can achieve and whether it is a good fit for you.

A Trumpeter Swan swims in an open lead of water during a bright sunset.

Two White-tailed Deer observe their surroundings before moving through a tallgrass prairie.

A White-tailed Deer walked through tall prairie grass in a native prairie restoration project.

A Trumpeter Swan stands on the ice after preening itself.

A White-breasted Nuthatch shows off its neck geometry.

A wild Turkey struts across a field of snow.

A Downy Woodpecker extracts a sunflower seed from a drooping head.

Pros and Cons

Pros:

  • Good OS for shooting handheld
  • Incredible versatility from 60-600mm
  • Can replace a couple lenses in your kit for traveling efficiency
  • Excellent build quality and Arca Swiss plate as a default

Cons:

  • Sacrifice bokeh due to relatively large minimum f-stops
  • Edge sharpness is pretty soft at open apertures
  • It is heavy for its size and relative to comparable lenses

The bottom line, final rating and product value

Overall I was impressed with this lens for its versatility. I think there is a lot of appeal in having one lens that can “do it all”. However, fully professional photographers may shy away from the lens because of its minimum aperture and resulting depth of field. This lens sells for US$ 1,999 dollars. This value delivers a very nice lens with good capability. My overall rating: 8.5 out of 10.

The post Review: Sigma 60-600mm f/4.5 – 6.3 DG OS HSM for Wildlife Photography appeared first on Digital Photography School. It was authored by Ian Johnson.


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DPReview TV: Sony a6400 review

22 Jan

This week, Sony introduced its newest APS-C camera, the a6400. Of course, Chris and Jordan were on hand to take it for a spin and test out all the new features. Watch to find out what they think of Sony’s newest model.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Opening sequence
  • Introduction
  • Shooting with tracking autofocus (beta) on the Sony a9
  • Body and handling
  • Weather sealing
  • Sensor
  • Buffer
  • Menus and customization
  • Video
  • Video: tracking AF
  • Video: time-lapse
  • Video: rolling shutter
  • Video: no record limit
  • As a vlogging camera
  • Autofocus
  • Final thoughts

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sony a6400 first impressions review

21 Jan

This week, Sony introduced its newest APS-C camera, the a6400. Of course, Chris and Jordan were on hand to take it for a spin and test out all the new features. Watch to find out what they think of Sony’s newest model.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Opening sequence
  • Introduction
  • Shooting with tracking autofocus (beta) on the Sony a9
  • Body and handling
  • Weather sealing
  • Sensor
  • Buffer
  • Menus and customization
  • Video
  • Video: tracking AF
  • Video: time-lapse
  • Video: rolling shutter
  • Video: no record limit
  • As a vlogging camera
  • Autofocus
  • Final thoughts

Articles: Digital Photography Review (dpreview.com)

 
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Moment Smartphone Lens Review for Photography and Videography

16 Jan

The post Moment Smartphone Lens Review for Photography and Videography appeared first on Digital Photography School. It was authored by Suzi Pratt.

It’s no secret that smartphone cameras are getting increasingly better with every new release. But did you know that you can enhance your smartphone photography even further with lenses? There are several smartphone lens manufacturers out there, but one of the most popular and premium choices out there comes from Moment. This Seattle-based company offers four lenses that can take your smartphone photography to the next level. I’ve long been curious about these lenses and was delighted to finally have a chance to try them out.

best moment lens for smartphone review

Specs

Currently, Moment has four smartphone lenses on hand: the Superfish (fisheye), Wide, Macro, and Tele Portrait. Each lens ranges in price from US$ 89.99 to US$ 99.99. The lenses are attached via a custom Moment smartphone Photo Case, so you’ll need one of them too. Presently, there are Photo Cases for Google Pixel, Samsung Galaxy, and iPhone. Each case varies in design and price depending on your smartphone brand, but they’re in the US$ 30 or less range. This test and all resulting images were done with a Samsung Galaxy S8.

Build quality

Physically, each lens varies in presentation, which helps tell them apart at a quick glance. All lenses are made of metal and glass and have some nice heft to them. They also come with rubber lens caps that protect the front element. While there are no end caps to protect the back elements, at least they are small and relatively easy to keep clean and protected if using the included velvet lens drawstring bags.

best moment lens for smartphone review

Attaching the lens to your Smartphone

Lenses attach to your phone via the bayonet-style mount on Moment’s custom phone cases. You simply match up the lens mount to the phone case and twist the lens to lock it into place. It’s relatively easy to do with no added tools required. However, the lens mount is so small that it can take some trial and error to get it mounted. Once locked in place, these lenses are solidly attached to your phone case and it would take significant force for them to accidentally fall off.

Wide lens

Moment’s wide lens is equivalent to 18mm, which is significantly wider than my Samsung Galaxy S8’s 26mm (35mm equivalent) focal length. It’s a rather large lens with a curved, fisheye-like lens. However, there are zero fisheye effects in the resulting images. In fact, there’s no distortion, vignetting, or blurring around the edges.

best moment lens for smartphone review

Superfish lens

This 170-degree Superfish lens offers the widest field of view out of all Moment lenses. It’s rather compact with a flat front-facing lens. However, the resulting image generally takes on a fisheye appearance.

Macro lens

Moment’s macro lens is arguably the best-designed lens of the bunch. It’s also the flattest and most compact lens. Offering 10x magnification, the Moment macro lens comes with a plastic diffuser hood. This hood is very important for helping you determine how close the lens needs to be to a subject (hint: it’s VERY close), but the hood can also be removed. Design-wise, I love how detailed this lens is, particularly on the front element of the lens.

best moment lens for smartphone review

Telephoto lens

While I didn’t get to test the Moment telephoto lens, here’s a brief overview. This 60mm equivalent lens offers roughly double the focal length of most smartphones. Best of all, this lens gives you a telephoto effect without having to use your smartphone camera’s digital zoom, which often degrades the quality of your images.

If you can only buy one lens…

These lenses aren’t cheap, so it makes sense to invest in one or two initially, and then build up your collection from there. Personally, I found the Macro lens to be the most fun. It offers a unique perspective on just about anything and can be great entertainment for all ages. I’d pick the Superfish lens as my next favorite as it also offers a fun and different way to capture your surroundings.

Moment lens accessories

Straight out of the box, each Moment lens comes with a velvet drawstring bag. It’s a thin lens case that is better than having no protection at all, but it doesn’t offer the best padding. As a result, I highly recommend investing in the Moment Lens Pouch. This pocket-sized zippered pouch is nicely padded and has enough room to store two Moment lenses. If you need a bigger carrying case, the Moment Travel Case is a larger version of the Lens Pouch with room for 4 Moment lenses and extra accessories.

best moment lens for smartphone review

Bottom line

If you’re on the hunt for premium lenses to extend the capability of your smartphone camera, Moment offers the very best. Not only do their lenses look and feel professional, but the resulting images are noticeably sharper. Sure, there are much cheaper smartphone lenses out there, but they often compromise on physical quality. You won’t find any compromises if you go with Moment. The only catch is that you have to use one of the high-end smartphones that Moment makes a phone case for.

Moment lens sample photo gallery

Moment Lens Sample Images_003

Moment Lens Superfish Lens

Moment Lens Sample Images_003

Moment Lens Superfish Lens

Moment Lens Sample Images_003

Moment Lens Wide Angle Lens

Moment Lens Sample Images_003

Moment Lens Wide Angle Lens

Moment Lens Sample Images_003

Camera phone – before the next Macro lens shot.

Moment Lens Sample Images_003

Moment Lens Macro Lens – Seashell

Moment Lens Sample Images_003

Moment Lens Macro Lens – Coffee Beans

Moment Lens Sample Images_003

Moment Lens Macro Lens – Back of my hand.

Video

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The post Moment Smartphone Lens Review for Photography and Videography appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Nikon Z6 Review

14 Jan
Silver Award

88%
Overall score

The Nikon Z6 is one of two full-frame mirrorless cameras introduced by Nikon in August of 2018. It’s very similar to its big brother, the Z7, with the main differences being the sensor (24MP vs 46MP) and the decrease in resolution that comes along with it. The Z6 also has fewer phase-detect autofocus points (273 vs 493) due to the lower-res sensor. Otherwise, you’re getting the same rugged body, the same (mostly) familiar controls and access to a small but soon-to-grow collection of Z-mount lenses.

Specs aside, the Z6 is for a very different audience than the Z7. The latter is for those seeking ultra-high resolution and would also be considering cameras like the Sony a7R III and Nikon D850. The Z6, on the other hand, is intended to be be more appealing to those looking to upgrade from crop-sensor cameras or previous-generation full-frame DSLRs.

The Z6 will ultimately be compared to its DSLR sibling, the D750 (which is getting on in years, but still very capable). While the two cameras have different designs, they operate similarly, with autofocus modes and video being the the most significant differences.

Key specifications:

  • 24.5MP full-frame BSI-CMOS sensor
  • Hybrid autofocus system w/273 phase-detect points
  • Up to 12 fps burst shooting (Raw + JPEG)
  • 3.69M-dot OLED viewfinder
  • 2.1M-dot tilting touch LCD
  • OLED top plate display
  • Single XQD card slot
  • UHD 4K capture up to 30p
  • 10-bit 4:2:2 N-Log output over HDMI
  • Up to 100Mbps H.264 8-bit internal video capture
  • SnapBridge Wi-Fi system with Bluetooth
Out of camera JPEG | ISO 7200 | 1/250 sec | F1.8 | Nikkor Z 50mm lens
Photo by Dan Bracaglia

If those specs look familiar, it’s because they’re almost identical to that of the Z7, with resolution and the number of AF points being the main differences. You do reap the benefits of the lower resolution sensor when shooting bursts, with a top frame rate of 12 fps (versus 9) and the ability to capture more photos per burst. Otherwise, you’re getting the same design and innovations found the Z6’s big brother, which is significantly more expensive.

The Z6 is sold body-only for $ 1999 or with the Nikkor Z 24-70mm F4 S lens for $ 2599. If you buy the $ 249 FTZ (F-to-Z mount) adapter at the same time, Nikon will knock $ 100 off of the price.


What’s new and how it compares

The Z6 uses the all-new Z-mount along with a full-frame 24MP sensor with 5-axis image stabilization built in, along with a hybrid AF system and oversampled 4K video.

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Body and handling

The Z6 has excellent build quality, familiar controls and a lot of customizability, though some favorites from Nikon DSLRs didn’t make the cut.

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Operation and controls

The Z6 can be customized in numerous ways, and we appreciate its ability to have separate settings for stills and video.

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What it’s like to use

The Z6 is extremely versatile and can handle nearly any shooting situation that comes up.

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Image quality

The Z6’s 24MP sensor has excellent resolution and high ISO performance, though on rare occasions you may see banding if shadow areas are brightened.

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Autofocus

Nikon has put a lot of work into the hybrid AF system on the Z6, and the results are impressive for both still and video shooting.

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Video

The Z6 offers the best video quality and capability of any Nikon camera to date.

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Conclusion

While not a perfect camera, the Nikon Z6’s design and build along with superb image and video quality make it strongly worth your consideration.

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Sample Gallery

See how the Z6’s photos look in our extensive sample gallery.

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Articles: Digital Photography Review (dpreview.com)

 
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Gear: Leica C-Lux Camera Review

07 Jan

The post Gear: Leica C-Lux Camera Review appeared first on Digital Photography School. It was authored by Kunal Malhotra.

One of the latest offerings by Leica is the C-Lux compact camera which features 20-Megapixel, 1-inch CMOS sensor. With the focal length range of 8.8-132mm (24-320mm as per 35mm format), this is a multi-purpose camera. You can shoot photos of multiple genres like street, portraits, landscape, wildlife, and events using the 15x zoom range on this camera by Leica.

Talking about a few key highlighting features, the Leica C-Lux allows you to shoot 4K video, shoot images at 10fps burst rate and has a sensitivity range up to ISO 25600.

Build quality and ergonomics

The moment you hold the Leica C-Lux in your hand, you get mesmerized by its looks and ergonomics. This camera looks and feels premium from the very first second you use it.

The grip on this camera allows you to use it for hours without sweat or pain in your fingers. The thumb support at the back of the camera allowed me to make a strong grip while clicking both photos and videos.

I like how Leica has made this compact camera ‘compact’ – making sure it is fully-loaded with the latest features. While the built quality feels sturdy, the camera weight is not very heavy.

Physical features

My favorite physical feature on this camera has to be the customizable ring on the lens. By default, the role of the ring is to adjust the focal length of the lens. However, you can customize it to control either the manual focus or aperture value. So if you frequently focus manually or shoot in aperture priority, you are going to love this feature. I shoot in aperture priority in most situations, and the ring helped me save time and effort switching between aperture values.

On the back side of the C-Lux camera sits the 3.0“ TFT LCD touchscreen and 0.21“ LCD viewfinder with diopter adjustment from -4 to +3 diopters. The touchscreen is responsive and you can touch-and-focus while shooting photos and videos. However, the viewfinder is something that did not impress me. It felt like there was light leakage from the sides which distracted my view.

There is a pop-up flash hidden on the top center of the camera, which can be used by merely sliding a physical key. The back panel also features three custom function buttons which can be used as per the user convenience.

Image quality

While this camera has a focal length range from 24mm to 360mm, you may want to know its performance at both ends. I found the images to be sharp and crisp between 24mm and 200mm, and it gets a bit soft beyond 200mm focal length. Nevertheless, while shooting in daylight, it gives incredible results even at 360mm. However, as the light reduces, the crispness becomes a bit average.

If you are someone who shoots more in daylight and you want a longer focal length range in your compact camera, this could be a great choice for you. The optics in this camera lens enables you to capture images with good color reproduction.

Low-light performance

The real test of a camera is when it gets used in low light conditions. I took this camera for a run at night and clicked some street photos. The ISO performance up to 1600 ISO is excellent considering it features a 1-inch sensor. But beyond 1600 ISO you will start noticing grain in your images.

I was shocked to see this camera perform brilliantly in low light conditions while shooting video. I expected high grain at ISO 800, but this camera worked like a charm even at ISO 1600. This camera is equipped to shoot 4K video at 30fps and 1080p video at 60 fps.

Monochrome mode

Leica is known to have one of the best sensors for monochrome photography. But is it any good in this, one of the most affordable cameras? I fell in love with monochrome photography the day I started using this camera. The monochrome images felt entirely different coming out of this camera; perhaps because it is my first Leica camera. This camera captures amazing contrast and dynamic range, as you can see in the image below.

Autofocus performance

Most of the time I used the touch-to-focus feature, and there is a reason behind that. Ideally, I use manual focus point selection, but after a few shots I could trust the C-Lux touch focus accuracy. The focus speed also feels quite fast without much focus hunting, even in low-light conditions. But when you are beyond 200-250mm in low light conditions, the focusing becomes slower, and the focus hunting begins.

Features

There are some useful features in this camera including Focus Stacking and Exposure Stacking modes. One of the benefits of using a small sensor camera is that you get to use some fantastic features. These two modes allow you to capture multiple photos and give you a final image using either the focus point of your choice to focus stack or combine multiple exposures to achieve a high dynamic range (HDR) image.

Moreover, if you are social media enthusiast, the C-Lux camera allows you to instantly transfer images and videos via Wi-Fi or Bluetooth with the help of the ‘Leica C-Lux’ app.

Final thoughts

Amidst so many options, why would you choose the US$ 1050, 20 Megapixel, 1-inch sensor Leica C-Lux compact camera? If you are a frequent traveler and wish to carry a camera that does most of the job for you, this may be an ideal choice. Also, if you want the ‘Leica’ branding and love clicking in monochrome, you may fall for this little camera. With features including 4k photos at 30fps, focus and exposure stacking, 4k video and that smooth custom ring, I would recommend this Leica camera.

What are your views about this compact camera from Leica? Would you go for it?

The post Gear: Leica C-Lux Camera Review appeared first on Digital Photography School. It was authored by Kunal Malhotra.


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