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Video: Canon RF vs EF Lenses on the Canon Mirrorless System

23 Nov

The post Video: Canon RF vs EF Lenses on the Canon Mirrorless System appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this comparison video of Canon RF vs EF Lenses on the Canon Mirrorless System by BorrowLenses, Tom looks at Canon’s new RF lenses and how they perform when compared to their older EF counterparts.

The lenses he uses for the comparison are:

Canon RF 50mm 1.2 L
Canon EF 50mm 1.2 L
Canon RF 24-105mm f4 L
Canon EF 24-105mm f4 L

All tests were done with the Canon EOS R Mirrorless system and used the converter for the EF DSLR lenses.

Comparisons

Firstly, Tom discusses “flange difference.” Flange difference is the measurement of the space between the sensor plane and the lens mount.

In the case of mirrorless, the rear element of the lens is even closer to the sensor. This means eliminating a retro focal element group. This means less extreme image correction, fewer lens elements and often a sharper image.

For the comparison, Tom looks at autofocus, sharpness, color rendition, weight and price.

Canon RF 50mm 1.2 L

The lens is heavier, weighing just over 2 pounds, with 15 elements in 9 groups with a 10-bladed aperture.
The RF has a minimum focusing distance of 40cm.
It has a razor-sharp focus when wide open.
More contrast than the EF 50mm

Canon EF 50mm 1.2 L

Is nearly half the weight of the RF equivalent, with 8 elements in 6 groups and an 8-bladed aperture.
The EF has a minimum focusing distance of 45cm.
Focus isn’t razor-sharp until around f/4.

Winner

On just the specs, the RF 50mm has the leg up.

The autofocus on both lenses is snappy and accurate.

The RF, while a heavier lens, is vastly superior in terms of image quality.

However, where the RF 50mm f1.2 lens falls short is in its price. It’s an expensive lens, especially compared to the price of the EF 50mm F1.2 (even pared with the adapter).

Canon RF 24-105mm f4 L

Weighs 2 pounds, has 18 elements in 14 groups and a 9-bladed aperture.
Image stabilization
Minimum focusing distance of 45cm

Canon EF 24-105mm f4 L

Slightly heavier than the RF equivalent, and has 17 elements in 12 groups, with a 10-bladed aperture.
Image stabilization
Minimum focusing distance of 45cm

Winner

Both lenses are similar in price (only a few hundred dollars difference).

While the RF 24-105 is sharper than the EF, the disparity is not as severe as in the case of the 50mm lenses.

When it comes to contrast, the RF slightly outperforms the EF.

In terms of autofocus, both lenses perform very well, however, the RF focusing motor is whisper-quiet.

While both lenses are fairly evenly-matched, Tom declares the RF the winner due to its great images, quiet autofocus, and weight.

The only downside to the EF lens that Tom points out is that the entire package, when mounted to the EOS R using an adapter, becomes heavier and “unwieldy,” which may not suit people shooting for long hours or hiking with the setup.

Conclusion

If you already own EF lenses, you may as well adapt them as they still work incredibly well on the Canon mirrorless systems. However, the RF lens line-up is somewhat better.

Do you think this is a fair comparison? Or should they have tested the EF lenses on a dSLR vs the RF lenses on the mirrorless?

Or perhaps, like me, you are just interested to know how well your L-series EF glass will work with an adapter on the Canon EOS R or EOS RP? Share your thoughts in the comments below!

Samsung code hints at 8K video for Galaxy S11 smartphone

20 Nov

The team at XDA Developers has been doing its thing again and discovered several hints at new camera features, that are likely to make an appearance on the Galaxy S11 next spring, while digging into the code of the latest version of the Samsung camera app.

Among the hidden software features there are special modes called Director’s View, Single Take Photo and Night Hyperlapse as well as vertical panoramas, custom filters, and more.

Most potential S11 buyers will likely be more interested in the hints at 8K video, though. There is evidence that suggests the upcoming Samsung flagship will be capable of recording 8K footage at 30 frames per second.

We’ve already heard rumors about Xiaomi working on an 8K smartphone and Samsung’s top-end chipsets have supported 8K video for a while now. The same is expected from Qualcomm’s upcoming Snapdragon 865 chipset, so it’s unlikely the new Samsung will be the only 8K-enabled phone in 2020.

The APK-code also reaffirmed the use of a 108MP Samsung ISOCELL sensor in the primary camera which had been rumored previously. We’ve already seen some devices launched with this sensor, for example the Xiaomi Mi Note 10 Pro, so the S11 launching with the same sensor, or an improved variant, would not be much of a surprise.

Articles: Digital Photography Review (dpreview.com)

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Ricoh announces the Theta SC2, a 14MP ‘enthusiast’ 360-degree camera with 4K/30p video

19 Nov

Ricoh has announced the Theta SC2, a second-generation ‘enthusiast’ 360-degree camera that’s a part of its growing Theta lineup.

The Ricoh Theta SC2 serves as a successor to the Theta SC and brings with it new and improved features. Inside, it features a 14-megapixel 1/2.3-inch CMOS sensor capable of capturing 4K video (3840 x 1920 pixels) at up to 30 frames per second. In addition to 14GB of internal memory, the Theta SC2 offers a Micro SD card slot as well.

Ricoh has added three new shooting modes to the SC2: a ‘Face mode,’ which recognizes human faces in the frame and automatically applies skin smoothing; a new ‘Night View’ mode that helps to shoot low-noise footage in low-light environments; and a lens-by-lens exposure mode that controls the cameras independently for situations where one side of 360-degree exposure might be brighter than the other.

One small external upgrade from its predecessor is the addition of a small OLED display. Although smaller than the screen on the Theta Z1, the OLED display can be used to keep tabs on settings and battery life. There’s also a new self-timer button.

The Theta SC2 features built-in Bluetooth and Wi-Fi connectivity for connecting and controlling the camera with Ricoh’s dedicated smartphone app.

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The Theta SC2 will come in pink, blue, beige and white (the same colors the SC shipped in) when it ships ‘mid-December 2019’ for a suggested retail price of $ 299.95 / £269.99. Ricoh is currently taking pre-orders. We’ll have our Theta SC2 review out an hour after this post goes live, so keep an eye out.

RICOH THETA SC2

An Easy-To-Use 360° camera that’s simple to operate and capable of capturing high-quality spherical images and videos

LONDON, 18 November 2019 – Ricoh Company, Ltd. and Ricoh Imaging Europe S.A.S. are pleased to announce the release of the RICOH THETA SC2. The SC2 is the “Enthusiast” level model of the RICOH THETA 360° camera series, capable of capturing 360° still images and video footage. The RICOH THETA SC2 is easy to use, simple to operate, and features a variety of functions.

Since its release in 2013 as the world’s first hand-held 360° camera¹, “RICOH THETA” has been used in a multitude of environments and offers unlimited potential for image expression. 360° photography has become increasingly relevant, due to the rapid growth of the Virtual Reality market, the increasing number of social media services that are compatible with 360° images, and the growing demand for 360° images in the business market.

The new RICOH THETA SC2 is an easy-to-use model, perfect for the 360 enthusiast, allowing anyone to capture high-quality spherical images. It snaps photos at approximately 14 megapixels, as well as smooth, immersive 360°spherical video at 30 frames per second in 4K (3840 x 1920 pixels). Additionally, the RICOH THETA SC2 comes with a variety of shooting modes such as “Face” mode, which recognizes human faces and applies skin smoothing, and “Night View” mode for shooting low-noise footage after the sun goes down. These modes allow the photographer to configure the camera with minimal effort.

The status OLEDdisplay (Organic EL display) in the lower section of the RICOH THETA SC2 body, allows at-a-glance checking of a range of information such as setting modes and remaining battery power. RICOH THETA SC2 also features a new button that lets the user switch to self-timer mode, making the camera much easier to operate in a standalone manner. Staying true to the product concept of a compact, lightweight body, the RICOH THETA SC2 can be used as a live blogging camera that people can carry with them to record the events of their day. The line-up features four different Fresh Colours, allowing users to select a colour of their choice. This is the perfect camera for people who enjoy sharing pictures and videos on social media, or for those who wish to start using a 360° camera.

^{Note 1}: For consumer products, this refers to the fact that the camera can capture the entire space surround the photographer, not just in a half-sphere or horizontal direction, but in a single shot. (As of October 2013. According to Ricoh research.)

Price & Availability

RRP: £269.99

Availability: Mid December 2019

Colours: Pink, Blue, Beige, White

Articles: Digital Photography Review (dpreview.com)

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Video: FedEx contractor throws package containing $1,500 Canon lens

19 Nov

A viral video shared by photographer Greg Riegler over this past weekend highlights the problem of carriers mishandling packages — in this case, a package containing a $ 1,500 Canon lens. The video was captured by a video doorbell security camera and recently detailed by Riegler on Reddit.

The video shows an individual claimed to be a delivery driver in training carrying the box across the lawn, only to throw it across what appears to be 10-15ft onto the porch and into the door. The entire process was pointless, as the video shows the trainee walking back to the unmarked van, only to return with a second individual wearing the FedEx logo. A slip was ultimately left at the door and the package was returned to the truck.

In a comment on Reddit, Reigler said:

This happened yesterday, I’ve been in contact with FedEx and the local distribution center. It’s a contractor, and the guy tossing the box seems to be training, which is crazy he already doesn’t care about his job … I know packages are supposed to be packed in a way they can handle drops and what not, but they shouldn’t be intentionally mishandled.

Riegler reports that an actual FedEx employee, not a contractor, delivered the package the next day and that the lens appeared to be unharmed upon inspection.

Articles: Digital Photography Review (dpreview.com)

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Speedlight vs Monolight on Location: See How They Compare [video]

16 Nov

The post Speedlight vs Monolight on Location: See How They Compare appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Adorama, Gavin Hoey compares speed light vs monolight on location.

In the test, he does three very common lighting scenarios. He uses the flashes as fill flash, overpowering ambient light, and high-speed-sync flash.

He uses model, Charlotte, for the demonstration.

Gavin uses the following gear for the shoot:

Olympus E-M5 Mk III
Olympus 12-40mm f/2.8 Pro lens.
Olympus M.Zuiko 7-14mm f/2.8 Pro lens
Olympus M.Zuiko 25mm f/1.2 Pro lens
Flashpoint Xplor600 Flash
Zoom Li-on Speedlight
Glow Parapop 38″ Softbox
Flashpoint R2 Pro II Transmitter
Seconic L-308X-U

View this post on Instagram

A post shared by Gavin Hoey (@thegavinhoey) on Nov 7, 2019 at 1:27pm PST

Scenario one: fill flash

First up, in the Speedlight vs Monolight comparison, Gavin uses the monolight.

Before taking any shots, he takes a meter reading of the ambient light. Then to get his flash to match those settings, rather than use trial and error (which you can do), he uses a light meter to take an accurate reading from his model’s chin. He then uses that to set the flash.

Settings: f/3.5 1/250th Sec ISO 200

Next, he uses the speedlight flash. He sets it up using the same light modifier that he uses with the mono light and puts it in the same position.

He takes another light meter reading of his model’s chin, and set’s his speedlight flash.

When comparing the photographs, it is difficult to see the difference between using the monolight and using the speedlight.

Scenario two: overpowering the ambient light

Settings: f/16 1/250th sec ISO 200

In this scenario, Gavin runs the flash at full power to see what sort of aperture he can get out of the flash.

When doing a light meter reading, he gets an aperture of f/22 at the flash’s full-power setting.

Because he doesn’t want to waste the flash battery power and have a longer recycle time, he drops the flash to half power, which gives him an aperture of f/16.

He tests the camera settings without flash first to see how dramatic the sky looks. Then he turns the flash on to get some dramatic shots.

Gavin then swaps the flash over to the Speedlight, again using the same modifier and distance. The meter reading with the speedlight gives f/11, and the speedlight is set to full power.

In the side by side comparison, Gavin prefers the speedlight version over the monolight (what do you think?). But he prefers the flexibility, faster recycle times, power usage etc. of the monolight.

Scenario three: high-speed-sync flash

High-speed-sync flash strobes the light rapidly, meaning you get less power out of the lights. It is used for a shallow depth of field, so Gavin switches to a 25mm f/1.2 lens and shoots at f/1.2.

Firstly, Gavin turns off the flash and dials in f/1.2 and his flash sync speed of 1/250th of a second and then takes a picture of his model, Charlotte, to see what he gets at those settings.

While his model is quite well exposed at those settings, the background is overexposed, so Gavin tries 1/4000th of a second shutter speed, which gives him more detail in the background.

Most light meters won’t work with high-speed sync, so Gavin uses trial and error to set the flash to light Charlotte. He settles with 1/16th power.

Settings: f/1.2, 1/4000th sec, ISO 200.

He then tries the same settings with the speedlight flash with the flash at half-power.

While the flash does well to light the model, it struggles to keep up when shooting a number of shots in quick succession. He managed to get 18 photos in a row before the speedlight stopped working. This was actually the recycle time getting much longer.

Conclusion

If you have lots of high-speed-sync photos to take on location, you are better off with a monolight.

Variables: how far flash is from the subject, amount of ambient light, and softbox.

What are your thoughts on the comparisons? Which do you think wins in the speedlight vs monolight comparison? Share in the comments!

Hands-on: The Sigma fp is shaping up to be an impressive camera for video pros

13 Nov

Hands-on with the Sigma fp

The Sigma fp is the world’s smallest full-frame camera. Built as a hybrid stills / video platform, the fp is highly modular and packed with features that many stills photographers would find esoteric in the extreme. The fp has clearly been designed with filmmakers in mind, and after using one for a few days, we suspect that they’ll love it.

Hands-on with the Sigma fp

Measuring 112 x 70 x 45mm and weighing only 422g (just shy of one pound) with a battery and memory card, the aluminum-bodied Sigma fp is a very small, very light camera, considering its sensor format. We’re told that fp stands for ‘fortissimo pianissimo,’ which Sigma is interpreting as ‘very loud and very soft’. One way of interpreting that is ‘a lot of power in a small package’.

Sigma has achieved the fp’s compactness in a couple of different ways. Firstly, the body is the core of a very modular system. There’s no built-in viewfinder, no integral flash, and no grip. Leaving these things out means some serious space savings, and furthermore there’s no in-body stabilization, and no mechanical shutter, either. The fp is all electronic shutter, all the time. This has one major advantage for stills photographers – totally silent shooting – but a couple of disadvantages: a very slow maximum flash sync speed, and the potential for rolling shutter (‘jello effect’) and banding in some lighting conditions.

Hands-on with the Sigma fp

From behind, you can get an idea of the fp’s minimalist ergonomics. The rear of the camera is dominated by a large, touch-sensitive LCD, with only four direct control buttons to the right, plus a control wheel / 4-way controller. The accessory grip adds a protruding thumbrest but without this, the back of the camera is essentially flat. Below the screen you’ll find five more buttons, mainly geared to video shooters.

Because the form factor of the fp is essentially a flat-sided rectangle, with barely any protuberances anywhere, it’s easy to incorporate into a video rig.

Hands-on with the Sigma fp

This view shows the interesting design of the accessory grip, which is formed from a single curve of metal. It also shows off the fp’s very simple upper control layout. A control dial and integrated shutter button, a ‘REC’ button and a very simple ‘Cine | Still’ toggle for fast switching between capture modes. In a nice touch, when the switch is set to ‘Cine’, the switch moves to expose a bright red painted backing, providing quick visual feedback that the camera is set to record video, even when it is powered off.

Also visible in this shot is a row of vent holes, above the rear LCD. More on those in a moment.

Hands-on with the Sigma fp

Here’s the fp without the accessory grip attached. The grip, straps and tripod socket all use 1/4-inch threads, which makes modifying the camera pretty simple and gives videographers multiple attachment point options for incorporating the fp into a cage or shoulder-mounted rig.

Hands-on with the Sigma fp

Here are those same vent holes viewed from the base of the camera. The fp is passively cooled, via a large heat sink designed to dissipate heat away from internal components and out of the camera. The system is ‘passive’ to the extent that it does not rely on mechanical fans to do so, hence it will not create any operational sound: a potential issue when shooting video.

The vents do not lead directly to any of the fp’s delicate innards. As such, if dust or moisture make their way into them, it doesn’t present a problem. The fp is fully weather-sealed at 42 points, and Sigma is confident that the fp should stand up under use in poor weather.

Hands-on with the Sigma fp

The fp does not feature an integrated hotshoe, and Sigma has opted not to make an optional EVF. Instead, for cinematographers that really need a viewfinder, there’s the LVF-11 finder, which attaches physically to the rear screen and offers a 2.5X magnification, for precise focus and composition adjustments in (say) bright ambient light.

While not as flexible as a true electronic finder, for video work the LVF-11 works very well, and the additional stand-off distance from the back of the camera actually ends up being very useful when the fp is built up into a multi-module rig…

Hands-on with the Sigma fp

…a rig like this Zacuto one, where as you can probably imagine, the close proximity of the LCD screen to the operator’s face would make focusing on composition and focus very uncomfortable. With the LVF-11 attached, the operator can both hold the camera and look through the finder in a comfortable working position.

Hands-on with the Sigma fp

This rig demonstrates the fp with an optional HU-11 hotshoe adapter attached, allowing for the addition of a range of accessories, such as an external microphone, or of course a flash (assuming you can live with the 1/30sec max flash sync speed).

It also shows a Samsung T5 SSD drive (right) attached to the fp via USB 3, into which 12-bit CinemaDNG Raw video can be recorded directly.

Hands-on with the Sigma fp

Here’s the USB port, alongside the HDMI port and mic socket. The six gold connectors are proprietary, and carry power to the accessory hotshoe unit.

Hands-on with the Sigma fp

According to Sigma CEO Kazuto Yamaki, the fp was developed on the basis of knowledge gleaned from the creation of Sigma’s ‘Cine’ range of Art-series prime lenses. The 35mm T1.5 is shown here, dwarfing the fp. But cine primes are typically heavy things, and every ounce saved from the total setup is precious, especially for filmmakers working with shoulder-mounted rigs.

Hands-on with the Sigma fp

We’ve only had a full production-quality fp for a few days, but that’s long enough to form some preliminary impressions. Right now, we’re pretty positive for the most part, with some caveats. Stills photographers might be a little shy of it at first (I did find myself really wishing for a conventional finder, and I’d personally take a bigger body for the sake of IBIS) but with one of the optional grips attached, the fp handles pretty well. The most serious handicap for stills shooting is likely to be rolling shutter, which does introduce distortion in some situations, albeit not to a problematic extent in many shooting scenarios.

Although the fp uses a contrast-detection autofocus system, it is reasonably fast and responsive (with the L-mount 45mm F2.8 and 14-24mm F2.8 attached) and finds faces and eyes fairly quickly and accurately, assuming your subject is facing the camera. That said, overall autofocus performance is definitely a step behind the best of the mirrorless competition, with noticeable lag (for example) when placing the desired AF point by touch.

Hands-on with the Sigma fp

Realistically though, the fp is a video camera that can shoot stills – not the other way round. And video pros have a lot to be excited about. In the fp, Sigma is courting them pretty aggressively, with features like HDR video (coming via firmware), 12-bit Raw video output to an SSD and ‘Directors’ Viewfinder’ which allows filmmakers to simulate the different viewing angles and fields of view of other popular video cameras for framing.

So that’s the fp, coming soon to a store near you for an MSRP of $ 1,800. With the potential to be a seriously powerful tool for filmmakers, along with some solid stills photography features, the fp is an interesting prospect, and a bold move for Sigma. Watch out for more analysis – including a detailed look at its video capabilities – soon.

Articles: Digital Photography Review (dpreview.com)

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The Leica SL2 is a refined full-frame camera with in-body stabilization, fast burst shooting and capable video features

09 Nov

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The Leica SL2 is a major update of the company’s original full-frame mirrorless camera, the SL, which was introduced four years ago. The SL2’s design isn’t a dramatic departure from the original, though the hard edges have been softened, the grip has been refined and a new three-button rear interface is similar to that of the Q2. Build quality and weather-sealing has improved to the point where the SL2 has earned an IP54 rating.

The real differences between the SL2 and SL can be found on the inside. The SL2 has a 47MP full-frame CMOS sensor – likely similar to what’s in the Q2 and Panasonic’s S1R – and a 5-axis sensor-shift IS system that can also be used to produce 187MP Raw images. Its contrast detection autofocus system has been improved according to Leica, and a ‘Smart AF’ feature can automatically switch between focus and shutter release priority.

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Photos can be composed via a 3.2″ touchscreen display with 2.1 million dots or a large 5.76M-dot electronic viewfinder. As before, a small status display on the top plate shows important shooting information.

The SL2 can shoot bursts at 20 fps with the electronic shutter and 10 fps with the mechanical shutter, both with AF locked. For continuous focus and exposure, you’ll need to drop to 6 fps. The camera has dual SD card slots, both of which are capable of UHS-II speeds. The official battery life rating for the SL2 is 370 shots per charge, but as always, you’ll likely do better.

The SL2 can shoot DCI or UHD 4K at up to 60p from nearly the full width of the sensor. Both 60p and 50p footage are captured as 8-bit 4:2:0, while 30p and below can be recorded or output as 10-bit 4:2:2 streams. There’s also an option to shoot 5K at up to 30p from a 4:3, roughly 1.6x, cropped region of its sensor. The camera will let you shoot using a proprietary L-Log gamma curve for any of its 10-bit modes and the standard, ready-for-use HLG curve in its 10-bit 4:2:2 modes.

The Leica SL2 will be available on November 21st at a list price of $ 5995.

View our SL2 sample gallery

Go hands-on with the SL2

Watch DPReview TV’s first impressions

Press release:

A New Icon: Leica Camera Announces the New Leica SL2, Successor to the Trailblazing Leica SL

New camera resets the tone for the mirrorless market

November 6, 2019 – Building on the foundation established in 2015 with the visionary Leica SL-System, Leica Camera proudly introduces the Leica SL2, the storied brand’s new icon and next evolutionary step towards building the perfect all-purpose camera. By listening closely to the valued feedback of photographers and existing SL owners, Leica made many efforts to push the envelope of technological innovation and performance while respecting its heritage of design and legacy. In addition to a technical marvel of pure performance and unmatched build quality, the Leica SL2 is also a joyous experience to use with improved ergonomics and more comfortable grip married to the well-established, simplified three-button control layout, further unifying the Leica design language across multiple product lines. While cutting-edge new features such as in-body image stabilization unlocks newfound potential from legendary Leica M-Lenses, it simultaneously augments the growing selection of SL-Lenses which are some of the finest optics Leica has ever produced. The Leica SL2 is the natural evolution of the innovative Leica SL, serving as a groundbreaking embrace of the future of digital photography and videography while paying homage to its respected history and lineage.

CMOS sensor with 47 megapixels for superior image quality

The unprecedented resolution of the SL2’s CMOS image sensor in full-frame format results in an unparalleled level of detail rendition and image quality. Enormous dynamic range, a color depth of 14 bits per RGB channel and a sensitivity of up to ISO 50,000 enable outstanding image quality in all lighting conditions. Even when combined with Leica TL lenses, which are designed for the smaller sensor format of the Leica TL2 and CL, the SL2’s sensor still delivers an excellent image resolution of over 20 megapixels.

Image stabilization through sensor-shift technology

In a major evolution of the SL, the Leica SL2 features a suspended sensor which adjusts its position in order to quickly and efficiently compensate for camera shake. This in-camera method even makes image stabilization available to lenses that are not equipped with their own.

Additionally, in multishot mode, the tripod-mounted camera can record up to eight consecutive frames, whereby the sensor is shifted in half-pixel increments in between every exposure. This key feature results in images with an incredible quadrupled resolution of around 187 megapixels, leading to an extreme increase in detail resolution.

Improved ergonomics for stress-free shooting in any situation

Despite significant technical improvements, the Leica SL2 is neither larger nor heavier than its predecessor and feels particularly compact to handle. This is due to the fully redesigned camera body, whose handgrip and the edges have been subtly refined for easier handling.

Improved body design paired with increased durability make the SL2 the perfect companion for all forms of shooting. The SL2’s IP54 certification ensures an elevated weather sealing for more rugged situations, while a new option to turn off noise reduction during long exposures allows for more hands-free shooting. Less worry about the weather and environmental situations means photographers can focus more on getting the shot.

Overall the design of the SL2 recalls more of the iconic Leica identity and traditional design DNA elements that the brand has become known and loved for.

Streamlined design with new status menus

The Leica SL2 offers an innovative user interface whose efficient design allows photographers to focus their attention on the creative process. The design alignment with the existing M and Q systems makes the adjustment even easier for existing Leica photographers.

The main recording parameters can be viewed on the rear display and adjusted quickly and easily with a simple finger tap. A click wheel, a joystick and three strategically placed, individually configurable buttons also contribute to a straightforward operation. Thanks to two dedicated status menus for stills and video recording, the parameters for either shooting mode can be adjusted entirely separately from each other.

Limitless connections

Featuring an L bayonet lens mount, the Leica SL2 is not only compatible with the ever-growing portfolio of SL-System lenses, but also with lenses of the TL-System and with the legendary lenses of Leica’s M, S and R-Systems via adapter, providing more than 170 Leica lens options, guaranteed to offer the right fit for any photographic scenario. The L-Mount Alliance expands this scope of possibilities even further, by giving SL2 photographers access to L-mount-compatible lenses from Sigma and Panasonic.

Maestro III processor for ultra-fast operation

The new Maestro III processor facilitates a superior operating speed that shines in many aspects of the SL2’s performance. The autofocus is significantly faster and allows for a virtually lag-free shutter release in any shooting situation, which is further complemented by the new Smart AF mode, which autonomously switches between focus priority and shutter release priority. Full-resolution recordings of consecutive images are possible at 10 frames per second with the focal plane shutter, and 20 frames per second with the electronic shutter. Thanks to two UHS-II-compatible SD card slots, raw files can be saved simultaneously in DNG and JPEG format.

Leica EyeRes® viewfinder with even higher resolution

The camera’s electronic viewfinder now boasts a resolution of 5.76 megapixels, allowing for a large, entirely natural-looking viewfinder image. Simultaneously, the experience is further enhanced when using the touchscreen, which has increased in size to a 3.2-inch diagonal, and now offers a significantly higher resolution of 2.1 megapixels.

Perfect tool for cinematographers

In addition to its great appeal for photographers, the Leica SL2 speaks the language of cinematographers, as the camera is able to record up to 60 frames per second in Cine 4K mode, and up to 180 frames per second in Full-HD mode. Activating Cine mode transforms the SL2 into a manually controlled cine camera as ISO becomes ASA, the shutter speed is marked in degrees on the rotary disk shutter, and the f-stops indicating the aperture ratio are replaced by T-stops, which measure the actual amount of light transmitted through the lens. Connecting audio equipment to the Leica SL2 no longer requires the use of adapters, as the camera now features a build in headphones and mic jack, complemented by a fully-fledged HDMI connector for external monitors.

The Leica SL2 is available in Leica Stores and Leica Boutiques beginning November 21, 2019, at a recommended retail price of $ 5,995.

Leica SL2 specifications

Price
MSRP	$ 5999
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	8368 x 5584
Image ratio w:h	3:2
Effective pixels	47 megapixels
Sensor size	Full frame (36 x 24 mm)
Sensor type	CMOS
Processor	Maestro III
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-50000 (expands to 50-50000)
Boosted ISO (minimum)	50
White balance presets	8
Custom white balance	Yes
Image stabilization	Sensor-shift
CIPA image stabilization rating	5.5 stop(s)
Uncompressed format	RAW
File format	JPEG DNG (14-bit)
Optics & Focus
Autofocus	Contrast Detect (sensor) 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	225
Lens mount	Leica L
Focal length multiplier	1×
Screen / viewfinder
Articulated LCD	Fixed
Screen size	3.2″
Screen dots	2,100,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.78×
Viewfinder resolution	5,760,000
Photography features
Minimum shutter speed	1800 sec
Maximum shutter speed	1/8000 sec
Maximum shutter speed (electronic)	1/40000 sec
Exposure modes	Program Shutter priority Aperture priority Manual
Built-in flash	No
External flash	Yes (via hot shoe)
Flash X sync speed	1/250 sec
Drive modes	Single Continuous Interval Exposure bracketing Multishit
Continuous drive	20.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Spot
Exposure compensation	-3–5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±3 (3, 5 frames at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	4096 x 2160 @ 60p, MOV, H.264, Linear PCM 4096 x 2160 @ 50p, MOV, H.264, Linear PCM 4096 x 2160 @ 30p, MOV, H.264, Linear PCM 4096 x 2160 @ 25p, MOV, H.264, Linear PCM 4096 x 2160 @ 24p, MOV, H.264, Linear PCM 3840 x 2160 @ 60p, MOV, H.264, Linear PCM 3840 x 2160 @ 50p, MOV, H.264, Linear PCM 3840 x 2160 @ 25p, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p, 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 @ 23.98p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage included	Dual SD card slots (UHS-II supported)
Connectivity
USB	USB 3.1 Gen 1 (5 GBit/sec)
HDMI	Yes (10-bit output)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11ac + Bluetooth
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	Yes
Battery	Built-in
Battery description	BP-SCL4
Battery Life (CIPA)	370
Weight (inc. batteries)	835 g (1.84 lb / 29.45 oz)
Dimensions	146 x 107 x 42 mm (5.75 x 4.21 x 1.65″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Canon Announces 24P Video in 90D, EOS RP Via Firmware Update

05 Nov

The post Canon Announces 24P Video in 90D, EOS RP Via Firmware Update appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon Announces 24P When Canon debuted the EOS RP, photographers who also shoot video were intensely frustrated by one feature:

The lack of 24p video recording when shooting HD.

24p is especially important to videographers going for a cinematic look; 24p is a very common choice in movies, and the 24p look is now expected by moviegoers.

While the Canon EOS RP did offer 24p when shooting 4K, Canon customers were still disappointed. For anyone who wished to shoot in the HD arena at 24p, the Canon EOS RP was off-limits.

This trend continued with the Canon 90D, which also lacked 24p, though this time when shooting both 4K and full HD. And the Canon EOS M6 Mark II also missed the 24p feature.

Fortunately, Canon seems to listen to its consumers. On October 8th, the photography giant announced that it would be bringing 24p recording to a series of DSLR and mirrorless cameras. It promised to start with the EOS RP and the Canon 90D, followed by the PowerShot G7 X Mark III, the G5 X Mark II, and the Canon EOS M6 Mark II.

And just last week, Canon delivered. The company released its firmware version 1.4.0 for the Canon EOS RP and its firmware version 1.1.1 for the Canon 90D, allowing both cameras to shoot video at 24p. As the EOS RP already had 24p capabilities when doing 4K video, the firmware update simply expands this into the full HD territory. But the Canon 90D offered no 24p capabilities, and the firmware update has turned this around, giving the DSLR 24p shooting in both full HD recording and 4K recording.

You can download this new firmware from the Canon website (completely free!).

While the G7 X Mark III, G5 X Mark II, and EOS M6 Mark II haven’t yet received their firmware updates, you can be fairly confident that Canon will deliver. Canon has even offered a timeline, promising 24p for the G7 X Mark III and the G5 X Mark II before New Years, and the EOS M6 Mark II in 2020 (hopefully early on!).

Now I’d like to ask you:

What do you think of this firmware update? Does this make the Canon 90D or the Canon EOS RP more desirable? Share in the comments!

The post Canon Announces 24P Video in 90D, EOS RP Via Firmware Update appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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The DJI Mavic Mini is an ultralight, sub-250g drone that captures 2.7K video at 30fps

01 Nov

DJI has officially lifted the veil on its new sub-250g ultra-light drone, the Mavic Mini. The Mavic Mini is the smallest and lightest drone DJI has made to date, but despite its compact size, DJI has managed to pack quite a few features found in its more robust drones, such as the Mavic Air and Mavic Pro.

Inside, it features a 12-megapixel 1/2.3-inch sensor that can record 2.7K video at 30fps and 1080p video at 60 frames per second (fps). The camera module is mounted on a three-axis that sits centered beneath the main frame of the drone.

To coincide with the release of the Mavic Mini, the DJI Fly app has received an update that adds new features, fly modes and tutorials to help get first-time operators off the ground. In DJI’s own words, ‘New pilots can choose to fly in Position (P) mode for basic operation, more experienced pilots can unlock more capabilities in Sport (S) mode, and content creators can choose CineSmooth (C) mode to lengthen braking time for smoother shots and more cinematic footage.’

DJI has also added QuickShots, which are pre-programmed flight maneuvers that can b e performed with the tap of a button. The modes are defined as follows:

Rocket – Mavic Mini flies straight up into the air with the camera pointing downward following your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
Circle – Mavic Mini will circle around your subject at a constant altitude and distance.
Dronie – Mavic Mini flies backward and upward, with the camera tracking your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
Helix – Mavic Mini flies upward and away, spiraling around your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.

DJI claims the Mavic Mini will offer up to 30 minutes of flight time. It features onboard Wi-Fi and GPS for transmitting video to the included controller and keeping tabs on where the drone is at all times. DJI notes the Wi-Fi system has a maximum range of 4km (2.5 miles) when unobstructed and not in a geo-locked area.

As previously mentioned, the Mavic Mini weighs just 249g (0.55lbs). The weight of Mavic Mini is significant because it falls below the 250g limit imposed by the United States’ Federal Aviation Administration (FAA) that requires any drone heavier than 250g (0.55lbs) and less than 25KG (55lbs) be registered. By shrinking the weight of the Mavic Mini while retaining many of the technologies found in its heavier drones, DJI has opened up a new realm of possibilities for would-be drone operators who want a more compact drone that can be flown without registering it through the FAA.

In addition to the drone and controller, DJI has made a new collection of accessories specific to the Mavic Mini. These include:

360-degree Propeller Guard: Provides a 360° guard for added safety.
Charging Base: Charge and display Mavic Mini with this unique, illuminated station.
Propeller Holder: Travel easier with Mavic Mini with the propeller holder that locks the props into place.
DIY Creative Kit: Personalize your Mavic Mini with custom stickers or draw your own design.
Snap Adapter: Attach a toy building brick or a mini LED display to Mavic Mini to write custom messages.

The Mavic Mini is available starting today on DJI’s online store for $ 399. The Mavic Mini Fly More Combo — which includes a dedicated carrying case, the 360-degree propeller guard, the charging base, and three extra batteries — is available for $ 499. You can also check out our hands-on with the DJI Mavic Mini.

Articles: Digital Photography Review (dpreview.com)

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Video: 10 in-camera tricks for capturing unique images without Photoshop

01 Nov

Jordi.Koalitic, a creative photography project from photographers Jordi and Arnau Puig, has published a video detailing 10 ways photographers can add interesting effects to their images without using editing software. These in-camera tricks include spraypainting alphabet pasta to simulate letters falling on a book, gluing dirt inside a pot to imitate shooting through a hole in the ground and more.

Other effects detailed in the video include simulating action shots involving fruit, marbles, and a tennis ball, using a mirror to creatively capture a subject from a unique angle, using a slinky toy to create a swirly effect extending from the camera to subject and using glass to safety shoot water being thrown at the camera. The video includes sample images and the camera settings used to capture them.

Additional images can be viewed at the team’s Jordi.Koalitic Instagram account.

Articles: Digital Photography Review (dpreview.com)

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Posts Tagged ‘Video’

Comparisons

Canon RF 50mm 1.2 L

Canon EF 50mm 1.2 L

Winner

Canon RF 24-105mm f4 L

Canon EF 24-105mm f4 L

Winner

Conclusion

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RICOH THETA SC2

Scenario one: fill flash

Scenario two: overpowering the ambient light

Scenario three: high-speed-sync flash

Conclusion

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Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

Hands-on with the Sigma fp

A New Icon: Leica Camera Announces the New Leica SL2, Successor to the Trailblazing Leica SL

CMOS sensor with 47 megapixels for superior image quality

Image stabilization through sensor-shift technology

Improved ergonomics for stress-free shooting in any situation

Streamlined design with new status menus

Limitless connections

Maestro III processor for ultra-fast operation

Leica EyeRes® viewfinder with even higher resolution

Perfect tool for cinematographers

Leica SL2 specifications