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  • Quick review: Apexel 8mm fisheye lens for smartphones

    Fixed focal length lenses are one of the key limitations of smartphone cameras. So it’s no surprise that add-on lenses, which allow you to vary the focal length, are among the most popular smartphone accessories.

    We have had the chance to test one of the more extreme variants, the Apexel 8mm fisheye lens, which provides a whopping 238-degree field-of-view. The lens comes with a clip that makes it very easy and quick to attach to most mobile devices – Apexel claims it is compatible with 98% of all smartphones – but we’ve found it to work best with the latest generation Apple iPhones, as the back of the lens slots onto the iPhone’s lens protrusion, where it is firmly held in place. On other devices, without a protruding camera-module, things can get a little more difficult and you might have to optimize the position of the lens by moving it around very slightly until you find a position that gives the best image quality. 

    The provided clip makes lens attachment very easy and quick. Lens construction features six elements in five groups.

    The lens construction features six elements in five groups and a multi-layer coating. The glass is housed in an aluminum body and the clip is made from very robust ABS plastic. Apart from the lens and clip you’ll find a lens cap, storage case and lanyard in the box.

    In use

    Image quality does of course vary depending on the smartphone camera you are using, and can be a little hit and miss. We tested the lens on the iPhone 6s Plus and the Lenovo Moto Z Force. On the iPhone, the lens clips neatly onto the protrusion of the phone camera but still, many images are very soft across the frame. During our testing the iPhone’s AF system clearly found it more difficult than usual to find a lock and, so it seems, sometimes simply did not focus correctly before the shutter was triggered. Other images are relatively sharp at the center of the frame and only show softness around the edges.

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    In general, sharpness was better on the Moto Z Force but you’ll have to make sure the lens lines up perfectly with the smartphone camera. That said, even in a best case scenario vignetting is much more pronounced than on the iPhone – in sunny conditions lens flare is visible and again the AF occasionally takes much longer to lock than without the clip-on lens. With the Apexel’s extreme angle of view it can also be difficult to keep fingers and other body parts out of the frame, so check the preview image carefully before pulling the trigger.

    Of course, the lens also works in video mode. The sample below was recorded in the Lenovo Moto Z Force’s 1080p video mode. It shows most of the same imperfections as the still images but thanks to the lower video resolution they are not quite as intrusive. 

    Conclusion

    The Apexel 8mm fisheye lens for smartphones is a nicely made accessory lens that is very easy to clip onto most phones (as long as you don’t use a case). The fisheye effect is extreme and can be an interesting additional weapon in your creative mobile imaging arsenal. However, image quality purists won’t be happy with the strong softness, vignetting and some lens flare we’ve seen in our sample pictures. Not that we were expecting Zeiss quality from a smartphone accessory lens, but the Apexel is generally quite a bit softer than we’d like.

    That said, the lens can be fun to use and capture image results that are different from your usual smartphone pictures. The Apexel 8mm Fisheye is currently available for approximately $ 44 on Amazon.com*.

    Pros:

    • Extremely wide angle-of-view
    • Nice fisheye effect
    • Solid build quality
    • Easy and quick attachment
    • Compatible with most smartphones (although works best with iPhone 6/6s generations)

    Cons:

    • Strong image softness
    • Varying degrees of vignetting (depending on smartphone camera)
    • Some lens flare in sunny conditions
    • Slows down camera AF
    • Exposed front element prone to scratching and fingerprints
    • Clip not compatible with many phone cases
     
     
    * dpreview.com is a wholly-owned subsidiary of Amazon but is editorially independent of our parent company.

    Articles: Digital Photography Review (dpreview.com)

  • Snapseed 2.9 for iOS adds Raw support for 144 camera models

    The iOS version of Google’s Snapseed mobile photo editing app just got an update with a major new benefit: full Raw support for 144 cameras and all DNG files. With the update, the app can now be used to edit Raw files from a lengthy list of advanced compacts and interchangeable lens cameras.

    A full list of cameras included in the update is available at Google’s Snapseed support website. The website also suggests supported workflows to get those Raw files onto your device, listing EyeFi MobiPro, Google Drive and Apple’s Lightning to SD card reader or USB camera adapter as possibilities. Realistically, a Raw editing workflow will probably make most sense with an iPad Pro.

    Version 2.9 also introduces a face tool with various pre-set options to apply different smoothing and brightening effects to detected faces in a photo. Also added is an option to specify the JPEG compression rate applied when exporting photos, and the ability to save a lossless PNG.

    Original photo from front-facing camera of an iPhone SE.  ‘Subtle’ face effect. Not usually a fan of ‘beauty’ settings on cameras, but I won’t lie: I am fine with this.

    Articles: Digital Photography Review (dpreview.com)

  • Canon announces new flagship EOS C700 cinema camera

    Canon has announced a new addition to its Cinema EOS line of professional cinematography cameras, the EOS C700, which appears to be the first camera from Canon to leverage the global shutter CMOS sensor technology the company revealed yesterday. The camera will be available in three variants: the C700, C700 PL, and C700 GS PL.

    The EOS C700 and EOS C700 PL feature a Super 35mm 4.5K sensor with wide dynamic range, which Canon says extends to 15 stops of latitude. The EOS 700 GS PL features a Super 35mm 4K sensor with global shutter. Global shutter is a desirable feature for filmmakers as it allows the camera to capture data from the entire sensor at one time. In contrast, most CMOS sensors capture data using what is known as a rolling shutter, in which data is captured line by line as it comes off the sensor, and which is responsible for the ‘Jello’ effect often seen in digital video.

    All three cameras support Canon’s standard Log gamma profiles (Canon Log3, Canon Log2, and CanonLog), and support frame rates up to 4K/60p and 2K/240p. Canon has also added the ability to record footage straight to Apple ProRes, a common editing format, in addition to Raw data capture and Canon’s own XF-AVC compressed codec. Additionally, these are the first Cinema EOS cameras to include a de-squeeze feature for live monitoring when shooting with anamorphic lenses.

    Owners won’t be locked into a lens mount or sensor; the C700 will allow users to switch between EF and PL mounts, as well as between the standard CMOS sensor and the global shutter CMOS sensor. (Though this work will need to be done at a Canon service facility.) Canon gives users incentive to pair the camera with EF lenses as these will make it possible to take advantage of Dual Pixel autofocus, however those who choose PL mount versions will get compatibility with Cooke/i metadata communication technology.

    Finally, Canon has partnered with Codex to provide a fully integrated, no cable workflow option with the Codex CDX-36150 recorder.

    These look like impressive tools, and they come with a price tag to match. The EOS C700 and C700 PL are expected to go on sale in December with a list price of $ 35,000, while the EOS C700 GS PL should be available in January (2017) with a list price of $ 38,000.

    Press Release:

    Canon U.S.A., Inc. INTRODUCES NEW FLAGSHIP EOS C700 CINEMA CAMERA*

    Ideal for Major 4K Cinema, Television, and On-Demand Streaming Productions

    MELVILLE, N.Y., September 1, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the next step in the evolution of the Cinema EOS family of professional cinematography products with the new EOS C700, EOS C700 PL and EOS C700 GS PL cinema cameras 

    Featuring a completely new, customizable, modular design, the EOS C700 meets the demands of today’s productions – from feature films to documentaries to episodic dramas. The EOS C700 and EOS C700 PL cameras feature a Super 35mm 4.5K sensor1 with wide dynamic range, and can be ideal for productions requiring 4K UHD TV or 4K DCI cinema deliverables. The EOS C700 GS PL features a Super 35mm 4K sensor with a global shutter to enable the distortion-free capture of subjects moving at high speeds. In addition to supporting the earlier XF-AVC2 recording format, the cameras also support Apple® ProRes.

    Recognizing that customers today demand flexibility and the ability to respond to the changing needs of productions, the EOS C700 allows users to convert between EF mount and PL mounts, and between a standard CMOS image sensor and a global shutter CMOS image sensor at Canon service facilities3. The EF lens mount provides compatibility with Canon’s diverse lineup of over 70 interchangeable EF lenses as well as enabling use of Canon’s Dual Pixel CMOS AF technology. While the EOS C700 PL and EOS C700 GS PL allow use of industry-standard PL lenses and compatibility with Cooke /i metadata communication technology.

    For those wanting to shoot and deliver High Dynamic Range (HDR)4 content, the EOS C700 and EOS C700 PL are ideal – providing 15 stops of latitude5, Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Additionally, these cameras seamlessly integrate with Canon’s professional 4K displays (DP-V2420, DP-V2410 or DP-V1770) for on-set color management and review that conforms to SMPTE ST 20846 standards of HDR display.

    To complement these powerful new acquisition tools, Canon has turned to its trusted partner Codex to provide a fully-integrated (no cables) recording and workflow option. The combination of the EOS C700 camera with the optional Codex CDX-36150 recorder allows for high-speed 4.5K RAW recording at up to 100FPS, 4K RAW at up to 120FPS, 4K ProRes at up to 60FPS, 2K ProRes at up to 240FPS and XF-AVC at up to 60FPS.

    Canon’s new EOS C700, EOS C700 PL and EOS C700 GS PL are the first Cinema EOS cameras to support anamorphic shooting by utilizing a “de-squeeze” function for monitoring7, making possible the creation of images with the 2.39:1 aspect ratio typical of cinema productions. Furthermore, enabling Full HD high-frame-rate recording at a maximum of 240 fps (crop8), the camera enables smooth playback, even when slowed down, for great emotional visual expression. 

    Along with the announcement of these cameras, Canon is also introducing optional accessories OLED 1920×1080 Electronic View Finder EVF-V70, Remote Operation Unit OU-700, Shoulder Support Unit SU-15, Shoulder Style Grip Unit SG-1 and B4 mount adapters MO-4E/MO-4P. 

    The EOS C700 and EOS C700 PL are currently expected to go on sale in December 2016, while the EOS C700 GS PL is currently expected to go on sale in January 2017. The EOS C700 and EOS C700 PL will have a list of $ 35,000.00 each** and the EOS C700 GS PL will have a list price of $ 38,000.00**.  

    †Based on weekly patent counts issued by United States Patent and Trademark Office.

    *This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained. 

    **Availability, pricing and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

    1 4.5K RAW recording will be supported following a firmware update (currently scheduled to be released at the end of March 2017, see chart below).

    2 Canon’s proprietary video format that efficiently compresses video data.

    3 Conversions will incur a fee and will be handled by Canon service facilities.

    4 High Dynamic Range refers to a technique that enhances the contrast between light and dark values (the dynamic range) of an image.

    5 15 stops achievable in EOS C700 and EOS C700 PL models in Canon Log2 mode. EOS C700 GS PL achieves 14 stops.

    6 The wide dynamic range imaging standard recommended by the Society of Motion Picture & Television Engineers.

    7 A lens that enables shooting with landscape-orientation compression and makes possible a characteristic blur effect.

    8 A shooting function that creates a pseudo-telephoto effect using a portion of the sensor area.

    Articles: Digital Photography Review (dpreview.com)

  • 4 Tips for Using for Live View to Get Sharper and More Creative Images

    Live View versus optical viewfinder on your DSLR, pros and cons?

    Pascal

    By Pascal

    If you shoot with a DSLR you probably use the same method for taking pictures that most people do, holding the camera up to your eye and looking through the viewfinder before snapping the shutter button.

    This tried-and-true method has several benefits, including letting you see precisely what you are going to take a picture of before you click the button. Also, allowing you to track fast-moving subjects without any lag time, and even stabilizing the camera due to the fact that it’s being held up against your face instead of away from your body.

    Getting this shot using the optical viewfinder wouldn't have been impossible, but it would have been much more difficult.

    Getting this shot using the optical viewfinder wouldn’t have been impossible, but it would have been much more difficult.

    However, the Live View function that is built into most DSLR cameras has a few tricks up its sleeve that can greatly benefit you as well. While not useful in ever single photographic situation, Live View certainly is worth a second look if you are the type of person who normally casts it aside in favor of the traditional viewfinder.

    #1 Make sure your subject is perfectly focused

    When you look through the optical viewfinder on your camera, you will see an array of rectangles or dots which each represent points on which your camera can focus. This is a result of your camera’s phase detect focusing system which is present in nearly every DSLR. While it usually works just fine, there are situations in which it can present a bit of a problem.

    For one, the subject on which you are focusing can sometimes be outside the boundary of your focusing points, which makes it quite difficult to get it tack sharp even with something like the focus-and-recompose technique. Also, even with using the built-in focusing points it’s not always a guarantee that your subject will be completely in focus, especially if it is very far away like when shooting landscapes or scenic vistas.

    Live View helped me get this flower focused just how I wanted, and instead of laying in the mud I used the flip-out screen to help me compose the picture.

    Live View helped me get this flower focused just how I wanted, and instead of laying in the mud I used the flip-out screen to help me compose the picture.

    Zoom-in on Live View

    Live View is the magic bullet in these situations, as you can use it not just to frame your shot, but to zoom in close on a specific area to make sure it is focused. Think of this as though you were holding a magnifying glass up to your camera’s viewfinder when focusing on your subject, and using that as the basis for judging whether it is tack sharp or just a bit fuzzy. This obviously works best if your camera is firmly attached to a tripod, but even if you just set it on a solid surface such as a shelf, rock, post, or other object, you should be fine.

    Live View can be a good way to make sure your subjects are tack sharp and perfectly focused.

    Live View can be a good way to make sure your subjects are tack sharp and perfectly focused.

    Each camera handles the zoom-in function a bit differently, but for most DSLRs there will be an option in one of the menus to enable a button on your camera to zoom in during Live View, and even set the percentage of zoom which tells you how much it will magnify the image. If your subject is not moving, and neither is your camera, this technique is one of the best possible ways to make sure everything is tack sharp precisely how you want it to be (using manual focus in this instance can be helpful also).

    #2 See previews of camera effects in realtime

    One fun trick that many DSLR manufacturers have added to their cameras is the ability to do various types of effects like selective coloring, miniature, and black-and-white, among many others. Think of them as though you are adding Instagram filters, but in realtime, as you are taking your pictures instead of on your phone afterwards.

    Using Live View as you activate various scene modes is a fun way to experiment with different types of creative image effects. It also has the added bonus of allowing you to play around and see how the options affect your photography before you even click the shutter.

    A common camera effect is "miniature," which mimics a tilt-shift lens. It's fun to play around with these built-in effects using Live View which shows you a preview of what the final image will look like as you compose it.

    A common camera effect is “miniature,” which mimics a tilt-shift lens. It’s fun to play around with these built-in effects using Live View, which shows you a preview of what the final image will look like as you compose it.

    Some photographers frown on this type of creative expression, and prefer to leave these effects and scene modes to Photoshop, where things can be endlessly controlled, changed, and tweaked to perfection (often ad nauseam). But, my own personal stance is, if you’re making pictures you enjoy by using simple in-camera effects, then why not keep doing it?

    Some of the built-in modes are a little cheesier than others, and you usually can’t shoot in RAW format. But using Live View to preview the different sorts of photography effects you can explore, is a great way to try something new and add a little spark back to your creative juices at the same time.

    #3 Depth of Field preview

    This one piggybacks pretty well off of the previous item, but I wanted to list it separately because it is so useful on its own. When you change the aperture and focal length of your lens, you are also changing the depth of field, or area that is in focus. It’s a difficult concept to understand since it involves several different variables, including how close you are to your subject and how far away is the background.

    This confusion can be compounded by the fact that your optical viewfinder doesn’t really show you what to expect when you click the shutter button. Some DSLR cameras have a Depth of Field Preview button that allows you to close down the aperture and see what it will look like when you take a photo (it also gets dark if you use a small aperture), but another way to do this is by using Live View.

    It really helped to see a preview of the depth of field by using Live View when composing this image.

    It really helped to see a preview of the depth of field by using Live View when composing this image.

    How it works

    When you look through the viewfinder on a DSLR camera you are seeing through the lens while it is opened to its widest possible value. But, when you click over into Live View the aperture blades close down to the value you’ve specified, or that which the camera thinks is appropriate, depending on the shooting mode you are using.

    This makes it possible to see precisely what the picture will look like when you press the shutter button. So, if you focus on an object while in Live View, you will see a more accurate representation of the depth of field than looking through the viewfinder. This is incredibly useful when shooting macro photos, because it’s difficult to understand just what is in focus and what is not unless you can see it yourself using Live View.

    Depth of field can be extraordinarily thin when shooting macro pictures, and using Live View to see a preview of the final result is a good way to get the photo to show up just how you want.

    Depth of field can be extraordinarily thin when shooting macro pictures, and using Live View to see a preview of the final result is a good way to get the photo to show up just how you want.

    #4 Tap to focus

    One final trick that Live View offers, is the ability to actually use it for the act of focusing itself. As more cameras start implementing touch screens, manufacturers like Canon have started allowing users to tap on the screen itself to actually focus the camera, much in the same way you do on your mobile phone.

    While this feature is not available on all DSLR cameras, and though some with touch screens don’t have focusing enabled, if you do have a camera that allows you to tap-to-focus you might find it incredibly useful and well-worth your time. This won’t do you any good if you are shooting sports, action, or wedding photos, since the touch-based focusing isn’t as quick. But if you are out shooting casually it’s something you might really enjoy trying.

    It even has some advantages over traditional viewfinder-based focusing if you are shooting at extreme angles, such as very low to the ground. More and more cameras are offering flip-out screens so you can swivel it, instead of crouching down, and then tap it to lock focus.

    If you have a touchscreen, using Live View can be a great way to make sure your subject is focused exactly how you want by simply tapping the area you want to be in focus.

    If you have a touchscreen, using Live View can be a great way to make sure your subject is focused exactly how you want by simply tapping the area you want to be in focus.

    Summary

    These are just a few of the options available to you if you use Live View on a DSLR. If you are more of a traditional shooter who prefers the optical viewfinder I hope you at least give Live View a chance. It’s not going to be the best option in every situation, but you may find it to be more compelling and useful than you realize.

    If you do like shooting in Live View and have your own tips to share, please leave your thoughts in the comments below!

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    The post 4 Tips for Using for Live View to Get Sharper and More Creative Images by Simon Ringsmuth appeared first on Digital Photography School.


    Digital Photography School

  • Sony announces Xperia XZ flagship device with triple-sensor camera

    Sony has announced its new top-end device in the Xperia Z line at IFA in Berlin and in the camera department the new model comes with what the company calls ‘triple sensor’ technology. In practical terms this means that the Sony IMX300 1/2.3” 23MP image sensor with on-sensor phase detection is accompanied by a laser that measures the distance to the subject and improves AF speed and accuracy in low light; and an RGBC-IR sensor that measures the color values of a scene in order to fine-tune the white balance system. The hybrid AF-system is also predictive and can track subjects in motion.

    The Sony G lens comes with a 24mm equivalent focal length and an F2.0 aperture. In video mode the camera can record footage in 4K resolution and the Xperia XZ is also the first device on which Sony has implemented 5-axis electronic video stabilization. At the front there is a 13MP 1/3″ sensor with F2.0 aperture and 1080p video, specifications that would have been worthy of a main camera not too long ago.

    The Android 6.01 system is powered by a Qualcomm Snapdragon 820 chipset and 3GB of RAM. 32 or 64GB of internal storage are expandable via microSD card. Intelligent battery management means you are getting as much time as possible out of the 2900 mAh battery which also supports quick-charging. With a 1080p resolution and 5.2” diagonal the display specifications have not changed from previous high-end Xperia devices.

    All the technology is wrapped up in an 8.1mm thin metal body with rounded edges, that is water and dust tight (IP65/68). A fingerprint sensor has been integrated into the power button for added security. The Sony Xperia XZ doesn’t offer any huge improvements over previous devices in the series but looks like a solid update. It will be available in Europe from October for €699 (approximately $ 780), there is no word on availability in other regions yet.

    Articles: Digital Photography Review (dpreview.com)

  • Sony Xperia X Compact offers high-end camera in smaller format

    Along with the Xperia XZ, Sony has launched the Xperia X Compact. It’s aimed at users who want a powerful camera in a compact body but can live with a slightly less powerful chipset.

    The X Compact comes with the same 23MP ‘triple sensor’ main camera with laser-AF and color sensor as the Xperia XZ, but doesn’t offer 4K video and uses a front camera with a lower 5MP resolution, compared to the XZ’s 13MP. Like previous Sony Compact models the new device has a 4.6” display with 720p HD resolution, putting it in direct competition with Apple’s iPhone 6s. The Sony is powered by a Qualcomm Snapdragon 650 chipset and features 3GB of RAM in conjunction with 32GB of internal storage. The latter is expandable via a microSD slot. Power is provided by a 2700 mAh battery, that, like on the larger model, supports smart battery management and quick charging.

    The power button doubles as fingerprint reader to ensure secure device access and online shopping. In contrast to the Xperia XZ the Compact model comes with a plastic body that does not feature any environmental protection. However, this is reflected in pricing. The Xperia Z Compact will be available in Europe from September for a more affordable €449 (approximately $ 560).

    Articles: Digital Photography Review (dpreview.com)

  • Huawei Nova phones offer 4K video and OIS at mid-tier pricing

    Chinese manufacturer Huawei has taken IFA 2016 as an opportunity to launch a completely new series of devices. Nominally the Nova and Nova Plus are mid-range smartphones, but considering the premium looks and some of the camera specifications they could easily be mistaken for top-end models.

    The Nova’s metal body features what Huawei calls a multi-curve design, 2.5D glass screens and diamond cut edges. The back plate comes with a brushed hairline finish and at 1.8mm the bezels of the 5″ full-HD display are very thin. Inside, a Qualcomm Snapdragon 625 chipset is coupled with 3GB of RAM and a ‘high-density design’ of the electronic components means that the battery capacity could be increased by 20%. 3020 mAh sounds like a lot for a device of this size and, according to Huawei, should be good for two days of normal use.

    Also included is a USB Type-C connector and fingerprint reader. In the camera department the Nova features a 12MP BSI CMOS sensor with 1.25 um pixel size and on-sensor phase detection. The lens is constructed from six elements and comes with optical image stabilization. In video mode, the camera is capable of recording footage at 4K resolution. The front camera features an 8MP sensor and a range of ‘beautification functions’.

    The Nova Plus is very similar but comes with a larger 5.5″ display, a 16MP image sensor with 1.12 um pixel size and a 3340 mAh battery. The Nova Plus will be priced at €429 in Europe. The Nova is 30 Euros cheaper. Pricing information for other regions has not been provided yet.

    Articles: Digital Photography Review (dpreview.com)

  • Huawei’s MediaPad M3 is a high-end media consumption device

    With the MediaPad M3, Huawei has launched an interesting new option for photographers who like showing images or videos to clients or friends on a tablet. An 8.4″ IPS display with a resolution of 2560 x 1600 pixels displays sharp images and an ‘eye-care’ mode filters blue light to put less strain on your eyes while viewing the screen. Sound is played back through stereo speakers that are powered by an AKM soundchip and Harman Kardon engineered surround sound technology.

    The Android operating system is powered by Huawei’s own Kirin 950 octa-core chipset and 4GB of RAM. Buyers can choose from 32 or 64GB storage versions and there is also a microSD expansion slot. Huawei claims the 5100 mAh battery is good for 11 hours of video playback and the fingerprint sensor at the front doubles as a navigation tool. Tap and swipe gestures let you use it as a back or home button and for scrolling.

    The Media Pad M3 is not meant to be a capture device but, just in case, 8MP cameras are available at front and back. All the components are wrapped up in a sleek-looking and only 7.1mm thin metal unibody. The device will be available in Europe, starting at €349 (approximately $ 390) for the 32GB version. No information on pricing in other regions has been provided yet.  

    Articles: Digital Photography Review (dpreview.com)

  • Canon announces the XC15 4K video camera

    The Canon XC15 camera with included MA-400 microphone adapter, which provides support for XLR inputs.

    Canon has announced the new XC15 camera, a 4K UHD camcorder in a compact body.

    Though it’s clearly a follow-up to the company’s XC10 model, introduced in 2015, Canon is positioning the XC15 very differently. When the XC10 was announced Canon presented it as a camera that could bridge the gap for those who needed to shoot both video and stills, emphasizing its 12MP still capture capability. In contrast, the press release for the XC15 doesn’t even mention still photos, instead positioning the camera as a high quality, compact 4K camcorder oriented at news and video production, possibly as a B-camera to a Cinema EOS model. Canon hasn’t yet provided detailed specifications, but like the XC10 it uses a 1” CMOS sensor and a 10x optical zoom lens, which appears to be the same 24.1mm-241mm F2.8-5.6 (equivalent) lens found on the XC10.

    It appears that Canon is making an effort to respond to one very specific area of feedback from many of its video users: the need for XLR microphone support. The camera ships with Canon’s MA-400 microphone adapter that provides XLR-input compatibility.

    The XC15 will be available in September for $ 3000.00

    Press Release:

    Canon’s New Lightweight, Compact XC15 4K UHD Video Camcorder Ideal for News and Video Production

    XLR Microphone Input Provides Audio Support in Addition to High-Quality 4K UHD Video Capture

    MELVILLE, N.Y., September 1, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the XC15 4K Video Camcorder, a 4K UHD digital video camcorder for professional use that achieves high-image quality with a lightweight, compact body.

    The new Canon XC15, which builds on the XC10 4K UHD digital video camcorder announced in April 2015, enables shooting with an external microphone through an XLR input and features the selection of visual-expression “Look” modes, including modes that allow it to match the look of other Canon professional cameras, making it ideal for use as a “B”-camera as well as for media and video-content productions.

    The Canon XC15 ships with the MA-400 microphone adapter that, when attached, enables shooting with XLR-input microphones used in a wide range of media and content-creation applications. As a result, the camcorder supports the production of content that combines both high-image quality and high-sound quality with reduced noise. The MA-400 is also compatible with the EOS C300 Mark II camera.

    Thanks to its high-sensitivity one-inch CMOS sensor and DIGIC DV 5 image processing platform with high calculation-processing power, the new XC15 is capable of capturing high-image quality and low-noise 4K UHD video. Additionally, the camcorder features a compact, lightweight body design, measuring approximately 5.0 x 4.1 x 4.8 inches (WxHxD) and weighs approximately 2.1 pounds while also sporting a 10x optical zoom lens ¹, which facilitates shooting in confined spaces and environments that demand mobility.

    The Canon XC15 4K UHD professional video camcorder is scheduled to be available in September 2016 for a list price of $ 3,000.00.* For more information, please visit usa.canon.com

    † Based on weekly patent counts issued by United States Patent and Trademark Office.

    * Availability, prices and specifications subject to change without notice. Actual prices are set by individual dealers and may vary.

    All referenced product names, and other marks, are trademarks of their respective owners.

    ¹ Body and Lens Only

    Articles: Digital Photography Review (dpreview.com)

  • Leica adds 60mm F2.8 macro to TL lens lineup

    Leica has announced a 60mm F2.8 macro lens for its TL-mount cameras, which is just the T (Typ 701) at this point.

    The company was very short on details about the APO-Macro-Elmarit-TL 60mm F2.8 ASPH, aside from saying that it will have a 1:1 reproduction ratio and will arrive this Fall in black or silver. When mounted on the APS-C ‘T’, the lens will be equivalent to 90mm.

    This will be the sixth lens for the TL mount.

    Press release:

    Leica Announces Newest Addition to the T Lens Portfolio: the Leica APO-Macro-Elmarit-TL 60mm

    All future lenses for the Leica T camera system will be marketed under a new name: “TL”

    September 1, 2016 – Beginning today, a new prime lens is available for the Leica T camera system – the Leica APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH. Considered to be the reference lens in the APS-C segment, this lens delivers macro exposures with a reproduction ratio of 1:1 and impresses with best imaging performance.

    Like the Leica Summilux-TL 35 mm f/1.4 ASPH., the Leica APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH. is available in both black and silver.

    With this new addition, the lens portfolio of the Leica T camera system now offers a total of six lenses – including three prime lenses and three zoom lenses – that together offer a range of focal lengths for every photographic situation. The two fast prime lenses, the Leica Summicron-TL 23 mm f/2 ASPH. and the Summilux-TL 35 mm f/1.4 ASPH, are classic focal lengths for reportage photography. The APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH. complements them ideally as a lens for finely detailed close-up photography. Finally, the three compact zoom lenses, the Leica Super-Vario-Elmar-TL 11–23 mm f/3.5–4.5 ASPH., Vario-Elmar-TL 18–56 mm f/3.5–5.6 ASPH., and APO-Vario-Elmar-TL 55–135 mm f/3.5–4.5 ASPH., cover an entire range of focal lengths equivalent to 17 to 200 mm in 35 mm format and deliver outstanding images with rich contrast from corner to corner of the frame.

    As the Leica T and the new Leica SL share the same L bayonet mount, the name ‘TL’ will be implemented for all new Leica T lenses moving forward. Thanks to the flexibility offered by the TL-Lenses for a wide range of applications on cameras with the L-Bayonet, Leica once again showcases the company’s fundamental principle of system-compatibility and sustainability and offers users access to an even wider portfolio of Leica products

    All Leica TL-Lenses impress with outstanding imaging performance at lengths that range from infinity to their closest focusing distance and deliver images with the unique Leica look and bokeh. Designed by the optical engineering specialists in Wetzlar, the lenses all offer the exceptional imaging performance for which Leica lenses are renowned. The combination of optical and technical expertise and the use of only the finest materials guarantee consistent quality and reliability in every situation.

    Articles: Digital Photography Review (dpreview.com)