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Panasonic updates its L-mount lens roadmap with two new primes, drops the 100mm F2.8 Macro

28 Feb

Panasonic has published (translated) an updated roadmap for its Lumix S L-mount lenses. The updated roadmap adds two new prime lenses and is notably missing the 100mm F2.8 Macro lens compared to the previous lens roadmap, released back in August 2019.

Based on the information shown in the above roadmap graphic, Panasonic will be releasing three prime lenses and three zoom lenses in 2020:

24mm F1.8
50mm F1.8
85mm F1.8
Wide-angle zoom lens
Standard zoom lens
Telephoto zoom lens

No details are given for the focal lengths of the zoom lenses, but based on the infographic, it seems nearly every focal length from around 24mm through 280mm will be covered.

Although no specifics were mentioned in our recent interview with Yosuke Yamane, Director of Panasonic’s Imaging Business Division, he did talk about the importance of working alongside Sigma and Leica to expand and improve the lens options for the L-mount alliance, going so far as to saying the trio is ‘discussing changes to the communication protocol between the cameras and lenses.’

Articles: Digital Photography Review (dpreview.com)

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Sirui launches AM-2 Travel carbon fiber tripod series with five models and a ball head

28 Feb

Chinese camera accessory manufacturer SIRUI has announced its new carbon fiber AM-2 Travel Tripod series featuring a total of five tripod models. The company describes its new lineup as lightweight, with the largest and heaviest model weighing in at 1.22kg (2.69lbs). The tripods are suitable for uses that range from macro to travel photography, according to the company.

The SIRUI AM-2 Travel Tripod series features the following models:

AM-223 ($ 129.90): 350mm (13.78in) max height, 15kg (33lbs) max load
AM-225 ($ 199.90): 1200mm (47.24in) max height, 6kg (13.23lbs) max load
AM-254 ($ 199.90): 1200mm (47.24in) max height, 12kg (26.46lbs) max load
AM-284 ($ 249.90): 1200mm (47.24in) max height, 15kg (33.07lbs) max load
SL-200 ($ 29.90): 320mm (12.60in) max height, 15kg (33.07lbs) max load

The tripods are resistant to corrosion and have a high level of stability, according to SIRUI. Features vary based on the model, but include anti-slip leg locks, leg angle adjustment buttons, 1/4″-20 accessory port, interchangeable feet for use with metal spikes, included adjustment tools and tripod bag, as well as, in some cases, an included ball head. The AM-2 series can be used with the optional low gravity A-10R ball head priced at $ 99.90.

The new models are listed on the SIRUI USA website at this time but don’t appear to have yet been added to other online stores like Adorama and B&H Photo.

Articles: Digital Photography Review (dpreview.com)

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Hollywood filmmaker claims Apple won’t let villains use iPhones in movies

28 Feb

Rian Johnson, the filmmaker best known for his work on Star Wars: The Last Jedi and Knives Out, recently discussed his work and some aspects of the filmmaking process with Vanity Fair. During the approximately 20-minute interview, Johnson revealed an interesting tidbit about Apple product placement: the company reportedly doesn’t allow the iPhone to be used on-screen by villains.

As Johnson points out in the video, this fact can function as a spoiler — if you see a character in a movie who may be the villain but they are visibly using an iPhone, then it is safe to assume they are not, in fact, the villain. That’s due to the product placement rules Apple has in place for filmmakers, which allows iPhones to be used, but only if they’re associated with ‘good’ characters.

It’s unclear whether the public awareness of this fact may influence future movies. Some filmmakers may choose to have their characters exclusively use Android phones to avoid ruining the surprise. If that happens, Apple may feel compelled to loosen this restriction in order to return its handset to the big screen. ‘Every single filmmaker who has a bad guy in their movie that’s supposed to be a secret wants to murder me right now,’ Johnson quipped.

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the Nikon D6 at WPPI

27 Feb

Hands-on with the Nikon D6 at WPPI

The Nikon D6 is the company’s latest full-frame, high-speed sports DSLR, and we’ve just had the chance to get a look at one in-person at the 2020 Wedding and Portrait Photography Expo in Las Vegas. While the camera was operational, we weren’t allowed to capture any images with it – only images of it, for now anyway. Let’s take a closer look.

Behind that lens, and grip and front function buttons

No surprises here, Nikon’s not going to mess with a good thing – as someone who’s used the D5 extensively, I can confirm that the D6’s grip feels very familiar indeed, and is very comfortable. Those front function buttons are all very well-placed for easy access.

While we weren’t able to take the lens off this pre-production unit, the D6 comes with the same 20.8MP resolution of the D5, but a new Expeed 6 processor boosts burst shooting and should help with high-ISO performance, especially shooting JPEG.

Top plate

Top-plate controls are all-but identical to the D5’s as well, though we can see there’s now a polycarbonate cover around the hotshoe that likely houses the camera’s wireless antennas. On the top left shoulder, the ‘Mode – BKT – Metering’ controller is a bit more raised-up than we saw on the D5, and that’s really about it up here.

Rear plate

The rear of the camera is likewise going to be familiar to previous Dx-series users. Like, really familiar. Looking at the D6 and D5 side-by-side, the only difference I can find is the painting of a microphone symbol by the Fn3 button on the lower left corner. This means that this is likely the default button for recording audio notes to accompany images.

The side ports also look familiar, but there has been one change: the headphone jack and HDMI ports of traded positions, but that’s not likely to trip anyone up. Change just for the sake of change isn’t always the wisest choice on this type of camera. Many users will be picking one up and immediately setting it up exactly like their older D5’s and D4S’s and going out shooting. These types of professionals rarely want to reprogram their muscle memory.

Card slots

The Nikon D6 is the first camera in the series to eschew the use of CompactFlash cards entirely. Whereas the D5 could be configured with either dual CF or XQD cards, the D6 only accepts dual CFExpress cards. We think this is a good thing; these cards are durable and incredibly speedy.

We’ve been reliably informed that production sample cameras will ship without gaffer’s tape (applied to prevent show-attendees from sneaking in a card for unauthorized test shots).

Viewfinder autofocus

This is where Nikon’s concentrated most of its efforts. The autofocus system in the optical viewfinder is all-new, with 105 points, all of which are cross-type and use what’s called a ‘triple-sensor arrangement.’ The coverage area is very similar to that of the D5, though Nikon claims that the area of coverage is ‘1.6x denser’ than that of the D5. The whole array is sensitive down to -4EV, with the center sensor sensitive to -4.5EV.

In our brief hands-on with the D6 and the new AF-S 120-300mm F2.8 lens (which we’ll be featuring in a separate slideshow), the camera focused impressively fast from both near-to-far focus, and based on ‘Demo’ image review on the rear display, incredibly accurately. The D5 has been a benchmark for absolute autofocus performance for some time, and if Nikon’s made the D6 even better, that’s an impressive achievement. When we get a full review unit, expect lots of real-world sports AF testing.

Wireless connectivity, rear screen and burst shooting

The Nikon D6 comes with built-in wireless connectivity, which is likely to be well-received by end users (no more being forced into attaching an expensive external accessory). Hiding down at the bottom of the screen, you can also see the camera is set to its new maximum burst speed of 14 fps with autofocus and auto exposure. Firing off a handful of bursts, blackout is very well-controlled, and 14 fps is still going to be plenty fast for many types of action.

The rear screen is touch-sensitive, as with the D5, but there’s a new ‘swipe’ functionality in playback that brings up connectivity options right there to streamline the process of sending images off after they’ve been taken.

Hands-on with the Nikon D6 at WPPI

The D5 has been a personal favorite of mine for professional shoots for a long time, and it’s still one of my top choices for wedding photography today. I would expect the D6 to continue in this tradition – if the viewfinder autofocus system can get me even better results in even lower light, this will be a wedding-and-event photography winner. After all, that’s probably why it’s being showcased at a wedding photography expo.

Let us know what you think of Nikon’s latest professional DSLR in the comments.

Articles: Digital Photography Review (dpreview.com)

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How to Use Exposure Compensation and When You Should Use It

27 Feb

The post How to Use Exposure Compensation and When You Should Use It appeared first on Digital Photography School. It was authored by Mat Coker.

Sometimes, no matter what you do, your photos seem to keep coming out too dark or too bright. If only there were a simple way to tell your camera to make them a bit brighter or a bit darker. Well, there is! In this tutorial, I’ll show you how to use exposure compensation so you’ll never have to struggle with stubborn brightness levels again.

Take control over the whole look of your photo with the exposure compensation button.

Using exposure compensation is perfect for people who love aperture or shutter mode but want more control over the brightness of their photos without having to overthink settings. If you aren’t ready for manual mode yet or prefer not to use it, then you’ll love the exposure compensation feature.

Exposure compensation can help you to refine your landscape photos. ISO 250, f/4.3, 1/500 sec.

This is the exposure I was hoping for. I didn’t need to think about ISO, aperture or shutter speed. I merely need to use the +/- button and the camera did the work. ISO 800, f/4.3, 1/500 sec.

The point of exposure compensation

If you’re shooting in auto mode, then your camera makes all the decisions about how bright your photo will be. You know from experience that you’re often unhappy with how your photos turn out in auto mode.

Even if you’re using a partial-auto mode such as Aperture or Shutter Priority, then your camera still makes the final decision about how bright your photo will be.

If you’re frustrated that your pictures keep coming out too bright or too dark, then you should use exposure compensation. It tells your camera to make the picture a little brighter or a little darker than it thinks it should be.

Suppose you take a picture that turns out too dark, simply use the “+” part of the button to make the next photo brighter.

The first photo was underexposed, so I used exposure compensation to increase the overall brightness of the next photo I took.

If your pictures are coming out too bright, simply use the “-” part of the button to make the next photos darker.

using exposure compensation for overexposed photos

The first photo happened to come out overexposed. So I decreased the exposure compensation for a better exposure.

How to use exposure compensation

It’s the little +/- button on your camera that controls exposure compensation. If you need help locating it, just search your camera model and “exposure compensation” on Youtube. You’ll find a tutorial showing you where it is and how it works on your camera.

You’ll need to press this button to activate exposure compensation. Search Youtube for tutorials on how to use it with your camera.

That little button will help you take better pictures, save time editing, and feel more competent as a photographer.

Exposure compensation may not work in auto mode. You may or may not be able to use it in scene mode. It may not be compatible with auto ISO too.

If you’re working in full manual mode, then you don’t need exposure compensation since you’ve already taken full control of your camera.

Begin by choosing either Aperture or Shutter Priority mode.

Aperture Priority mode.

Shutter Priority mode.

If you’re using Aperture or Shutter modes, the exposure compensation button will allow you to adjust the look of your photo without getting confused about the other settings. It’s like a secret shortcut to manual mode without having to actually be in manual mode.

If you are already using manual mode a lot but find yourself getting frustrated with constantly adjusting ISO, aperture, and shutter speed, then exposure compensation will simplify everything for you and reduces the need for full manual mode.

Using exposure compensation to solve exposure problems

Use exposure compensation as a problem solver or to refine your photos.

This photo was taken at dusk. Even though the scene looked right to my eye, the camera’s eye saw the scene as much darker and naturally wanted to brighten up the photo for me. Unfortunately, it was quite overexposed. This happens to me all the time at dusk. ISO 6400, f/1.8, 1/60 sec.

This photo is now properly exposed. Yes, the photo looks a little dark, but it really was this dark in reality. ISO 6400, f/1.8, 1/320 sec.

When your camera always seems to under/overexpose your photos, try exposure compensation. My Olympus Tough TG-6 always overexposes the photos, so I always have exposure compensation activated to darken the photo. My Nikons and Fuji’s always underexpose the photos, so I’ve always got exposure compensation activated to brighten the exposure.

This white blanket appeared very bright to the camera, so it naturally darkened the exposure for me. ISO 1600, f/2.4, 1/500 sec.

I increased the exposure compensation to get a better exposure. ISO 1600, f/2.4, 1/125 sec.

Using exposure compensation for creative effect

Exposure compensation works well to help achieve or avoid silhouette photos.

When you photograph somebody against a bright background, you are almost sure to get a silhouette. I used exposure compensation to make this silhouette even darker. ISO 100, f/5.6, 1/500 sec.

You can increase the exposure compensation to force a brighter exposure and avoid the silhouette look. ISO 400, f/5.6, 1/250 sec.

Exposure compensation is great for a technique called “exposing for the highlights.” It’s when most of your photo looks dark, but the highlights are bright and stand out.

This is a nicely-exposed photo, but I had wanted something more dramatic looking. ISO 800, f/3.5, 1/150 sec.

I used exposure compensation to darken this next photo. Now, just the highlights are shining. ISO 100, f/5.6, 1/500 sec.

This photo was exposed so that the highlights would look just right while the rest of the leaf falls into darkness.

This photo was exposed to capture the highlights on the water while letting everything else fall into darkness. The person in the foreground turns this into a silhouette as well.

Most photographers would rather think about the creative elements of the photo rather than camera settings (although camera settings do contribute to the creative look of the photo).

Using exposure compensation lets you focus more on creativity and less on settings. Save brainpower – don’t think about settings and creativity

I knew that I wanted the sunlight properly exposed, and I wanted her traced in highlights. A combination of composition and exposure compensation helped me achieve that quickly.

As you can see, exposure compensation can help solve a lot of problems when you’re taking pictures. You’ll be amazed at how your photos look better with a little exposure adjustment. And in time, you’ll find it easier to discern when you prefer to use manual mode or exposure compensation.

Checklist

Now that you know how to use exposure compensation, keep this checklist in mind. Exposure compensation works:

To achieve better exposure in your photos
While in aperture and shutter mode
To achieve or avoid silhouettes
For creative effects like exposing for the highlights

Once you know how to use exposure compensation (and when is the best time to use it), you’ll simplify your process as a photographer. Simplicity is good because it helps you get back to what you really love doing; taking pictures.

The post How to Use Exposure Compensation and When You Should Use It appeared first on Digital Photography School. It was authored by Mat Coker.

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Hands-on with the Fujifilm X-T4

27 Feb

Hands on with the Fujifilm X-T4

Long-rumored, much-anticipated and inevitably leaked, the Fujifilm X-T4 has finally landed. Although it shares a lot with the existing X-T3 (which we’re told will continue to be sold alongside the X-T4), the new camera brings with some major changes, most notably in-body image stabilization and an all-new, larger battery. But smaller updates abound, at least one of which have the potential to be added to the X-T3 via firmware. So, let’s take a closer look.

Stabilizer

Alright, let’s get the major update out of the way first. Without a major increase in size over the X-T3, the X-T4 incorporates a sensor-shift image stabilizer that’s good for up to 6.5 stops of shake reduction with 18 of Fujifilm’s current total of 29 lenses. We’re told the remaining lenses will all be stabilized to a minimum of five stops.

This comes down to the image circle each lens projects. Most XF lenses, particularly the early ones, simply weren’t designed to project an oversized image circle for stabilization in the first place. And a smaller image circle means you simply can’t move the sensor as far before a degradation in image quality. In these instances, five stops is honestly pretty impressive.

New shutter mechanism

The X-T4 also comes with a new shutter mechanism, which unlocks burst speeds of 15 fps with full autofocus and autoexposure. (Like the X-T3, it can also do up to 20 fps with the electronic shutter, and 30 fps with the electronic shutter and a 1.25x crop.) This new shutter is rated to 300,000 actuations, comes with new ‘shock absorption’ hardware, and we must say, is impressively quiet.

Behind that shutter and mounted to the new stabilizer is the familiar 26MP X-Trans sensor that’s currently in the X-T3 and X-T30 (and the new X100V), and we expect image quality to be broadly similar (meaning, very good).

Updated ergonomics for video

While most of the headline video capabilities from the X-T3 carry over, the addition of stabilization makes the X-T4 a much more compelling ‘run-and-gun’ video camera. As such, Fujifilm has tweaked the ergonomics a bit: there’s now a dedicated Still / Movie switch under the shutter speed dial where the metering options used to live. In this view you can also see that the customizable rear command dial is more pronounced and a more rounded, protruding AF ON button makes an appearance.

Speaking of AF ON, Fujifilm has told us that the X-T4 uses an entirely new subject tracking algorithm that incorporates color information as well as the object’s shape to improve tracking ‘stickiness.’ We’ll take a closer look in our full review, but our initial impressions are that the X-T4’s tracking is vastly improved over the (already quite good) X-T3’s. We hope that latter camera will get a firmware update with this new version, and given Fujifilm’s track record of firmware updates, we’re optimistic.

Also, that pattern on the rear screen isn’t shattered glass, we promise. It’s…

The fully articulating screen

…a (somewhat plasticky) leatherette pattern on a new, fully articulating screen mechanism. It sits flush with the rear of the camera, so you have to dig your thumb into the depressed area on the right side to flip it out. In this view, you can also see that Fujifilm has retained both the 8-way AF joystick and the customizable four-way controller on the rear of the camera.

The fully articulating screen

As you would expect, the screen flips out to the side and can rotate forward 180 degrees for vlogging and down 90 degrees for shooting from high angles. It’s a familiar design seen on many competing cameras, unlike the less-traditional two-axis tilt design of the X-T3.

To an extent this is key to the whole camera. The X-T3’s screen is arguably a better choice for stills shooting, in that it stays in line with the camera’s lens and supports both landscape and portrait shooting. The X-T4’s screen arrangement is the preferred style for video shooting.

Drive dial controls

The drive dial has seen some minor tweaks, with the ‘HDR’ function now easily accessible, and of course the ‘Movie’ mode that was on the far left of the X-T3’s dial is absent.

Just to the right is a new eyecup, which we’ve been told has been updated to be ‘40% more rigid’ and stay in place more reliably than the previous one.

Total top-plate controls

Here’s a full view of the X-T4’s top plate controls. It’s worth mentioning that the customizable function button on the top plate has been shifted forward, between the power switch and the exposure compensation dial, rather than being crammed next to the shutter speed dial.

The grip has been tweaked to be a little bit deeper and more comfortable to use with larger lenses.

Ports

Moving to the left side of the camera, we can see that Fujifilm has done some tweaking regarding the ports of the X-T4. Gone is the rigid removable port door of the X-T3, with soft rubberized doors taking its place. We’re a bit disappointed by the loss of the dedicated headphone port: like the X-T200, X-A7 and X-T30, users must now use a USB-C to headphone dongle. At least there’s one included in the box.

Card slots

On the other side of the camera are two UHS-II compatible card slots hidden behind a removable door. This is also where you’ll find the serial number of the camera as well as the stamp for its country of manufacture, which may vary, camera to camera.

Battery

The X-T4 is the first Fujifilm camera in quite some time to use a new battery design. This one is dubbed NP-W235, and is CIPA rated to 600 shots when using the camera’s ‘economy’ mode and 500 shots in ‘normal.’ This is a good boost over the X-T3’s rating of 390 shots with the NP-W126S battery.

Getting a grip

The X-T4 also has contacts for the optional VG-XT4 battery grip, for those of you who simply must have a battery grip. Just like the grip on the X-T3 and X-T2, this new grip will hold two batteries, giving you a total of three (including the one in the camera) when it’s utilized. It also includes a dedicated, on-board headphone socket if you don’t like ‘dongle life’, and with a USB PD rated charger, you can charge all three batteries over the camera’s USB-C port.

Hands on with the Fujifilm X-T4

There you have it: Fujifilm’s newest 26MP, 4K-shooting, image-stabilized camera. Is it everything you hoped for and more? Or were you just hoping for more? We see it as a minor-ish update (or even a potential branching of the lineup) that will have a big impact for an audience clamoring for IBIS. And if you don’t need IBIS, we’re pleased that the slightly smaller and still supremely capable X-T3 will continue to be sold alongside it.

Let us know what you make of the new camera in the comments.

Articles: Digital Photography Review (dpreview.com)

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Canon EOS R5 Is Being Developed, But Don’t Forget About the R1

27 Feb

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The Canon EOS R5 hasn’t yet hit the shelves, but the rumors keep coming regarding Canon’s full-frame mirrorless line.

Rumors which promise something even more exciting (for those of us who can be patient, that is!).

Now, the Canon EOS R5 is plenty thrilling in its own right. It was officially announced by Canon earlier this month and is positioned to correct a number of the much-criticized flaws of the Canon EOS R and EOS RP, Canon’s two major full-frame mirrorless offerings.

In particular, the R5 promises to feature some form of in-body image stabilization, which is considered by many to be a defining aspect of mirrorless technology.

The R5 will also offer dual card slots, 20 frames-per-second continuous shooting with the electronic shutter (this drops to 12 frames per second with the mechanical shutter), and an incredible 8K video recording capability. The R5 is rumored to begin shipping sometime this July.

Canon is calling the R5 its “most advanced full-frame mirrorless camera ever,” and they’re undoubtedly right, though some might claim the EOS R/RP duo set a low bar.

That said, Canon seems determined to push their mirrorless lineups to greater heights. According to Canon Rumors, the R5 is “definitely not the ‘professional’ EOS R mirrorless camera” that Canon is developing, in reference to an action-focused mirrorless camera teased by Canon, one that would potentially rival the Sony a9 Mark II, as well as the Nikon D6 and the Canon 1D X Mark III.

Canon Rumors states that the “professional” camera, dubbed the “EOS R1,” should appear in 2021, and suggests that there may be a reveal in the final months of 2020.

In a sense, this Canon EOS R1 is only interesting as a marvel of innovation. We all want to see Canon push its mirrorless development to the next level (though advanced features do have a tendency to trickle down to lower models). But the EOS R1 will almost certainly be prohibitively expensive, and it won’t be the type of camera the average photographer wants or needs. Instead, it’ll be like its potential competitors, the 1D X Mark III, and the D6: interesting in concept, but relevant only for a niche audience.

The EOS R5, on the other hand, may be positioned much like the Canon 5D Mark IV. The 5D Mark IV is an impressive camera, and while it’s not Canon’s “true” professional option, it’s a body used by plenty of professionals. Many of these photographers hoped to see an upgrade in the form of the Canon EOS R and were disappointed by its lack of IBIS and single card slot.

So maybe, with the EOS R5, Canon will finally produce what was hoped for over a year ago.

What do you think? Are you excited about the EOS R5? How about the R1? If so, why? Let me know in the comments!

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Canon shows off EOS R5, RF 100-500mm lens under glass at WPPI

27 Feb

Canon EOS R5 at WPPI

The upcoming Canon EOS R5 was on display at the company’s booth at the 2020 WPPI Expo in Las Vegas, so we stopped by (and nudged our way past other attendees as politely as possible) to get a closer look. The representatives present at the booth couldn’t provide any details beyond the development announcement; “what’s been published is all we know,” was the common refrain. In case you missed it, here’s what we know:

Newly designed CMOS sensor (we’re guessing ~40MP)
In-camera image stabilization
20 fps continuous shooting (silent shutter)
12 fps continuous shooting (mechanical shutter)
8K video capture
Twin card slots

Still, we took some photos to get a better idea of what Canon’s done ergonomically to its upcoming full-frame mirrorless model.

We can see right away that the grip is deeply sculpted, with an almost-certainly customizable function button near the lens mount. Just behind the ‘EOS R5 DEVELOPMENT ANNOUNCEMENT’ label there’s another port door that’s hard to see, but may conceal a socket for a remote release or wireless transmitter.

Card slots

Here down the side of the camera we can see the card slot door. Again, all we know is that there are dual slots behind there; but the advertised provision of 8K capture means that they’ll need to be speedy, even with a good compression algorithm. Dual-type slots on the EOS 5D Mark IV could be a hint here; perhaps we’ll see one SD slot and one CFExpress slot. Or maybe just dual UHS-II SD card slots. Time will tell.

Top panel

On the top right of the camera, we can see what looks to be an identical control layout to the existing EOS R. The same status panel, and the same Mode + Dial combo for changing your exposure modes. Do you prefer this way of working, or do you long for an old-fashioned mode dial like Canon put on the lower-end RP? Let us know in the comments.

On/Off switch

On the opposite side of the camera is the on/off switch, similar in size to those on the EOS R and RP, but there’s a bit more of a protrusion near the back, perhaps for easier operation with your thumb. That also looks to be a polycarbonate panel surrounding the flash hot shoe, which is likely a ‘window’ for the camera’s wireless connectivity antennas.

Rear plate controls

Apologies for quality of this image, but the camera was nearly up against the back of the display, and there was no visibility from back there – so we have to make do with this top-down angle.

First of all, in the place of the EOS R’s touchbar is a traditional AF joystick and better-placed AF-ON button. Just underneath that is a dedicated ‘magnify’ button for checking focus, along with ‘INFO’ and a ‘Q’ button for pulling up the on-screen quick menu.

Underneath this is a thumb-dial surrounding a ‘SET’ button; this is a familiar setup from many of the company’s DSLRs, and is making its first RF-mount appearance here. No surprise, the screen looks to have the same swivel-out and rotate design as the R and RP, but next to the ‘Menu’ button on the top left is a dedicated ‘RATE’ button, which is accompanied by a microphone. It could be that the R5 lets you attach audio clips to your images using this control.

Rounding out controls on the back of the camera are the traditional ‘Star’ and ‘Focus Selection’ buttons on the top right.

Ports

Again, given the nature of the display, this is the best view of the ports I can get you – but everything is legible, at least. So we know that there will be microphone and headphone ports, a remote port, and a USB (likely type-C) port and HDMI output. You can also get a clearer view of the port cover on the bottom-front of the camera.

It looks like there may be enough distance from the screen hinge to the mic and headphone ports that they won’t get in the way of each other, so fingers crossed on that.

Let’s take a look at the RF 100-500mm lens, also under development.

Canon RF 100-500mm F4.5-7.1L

In amongst the EOS R5 announcement was the teasing of ‘nine RF lenses’ coming later this year, including the RF 100-500mm F4.5-7.1L IS USM on the right side of this image. For comparison, it’s sitting next to an existing EF 100-400mm F4.5-5.6L IS II; the 100-500mm is a little chunkier, but of course, you’d need a teleconverter on the 100-400mm lens to get the same reach and that would add bulk of its own.

Canon RF 100-500mm controls

Here we can see the ‘smooth / tight’ ring the new RF 100-500mm shares with the EF 100-400mm. This basically sets the resistance of the zoom mechanism, depending on your preferences, or if you just want to eliminate zoom creep when you’re not actively shooting. We can also see the AF/MF switch and a focus limiter option.

Canon RF 100-500mm controls

Way down there, we can see the rest of the switches on the RF 100-500mm F4.5-7.1L, which include a stabilizer on/off switch and a ‘stabilizer mode’ option, giving users an option to bias the stabilizer depending on whether you want absolute stability or if you’re doing panning.

Canon EOS R5 at WPPI

And there you have it – Canon’s upcoming high-end, full-frame mirrorless camera, under glass. We’re hoping to learn more soon, but in the meantime what are you most excited for about this camera? Would you consider getting one yourself? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm’s new Instax Mini 11 features an ‘Automatic Exposure’ mode and dedicated ‘Selfie Mode’

27 Feb

Although not nearly as exciting as its new X-T4 camera, Fujifilm has also announced the Instax Mini 11, its latest-generation instant film camera.

The Instax Mini 11 looks very similar to its predecessor, the Mini 9 (don’t ask where 10 went), but it’s received a subtle facelift. Specifically, the camera is more rounded than before and uses a material around the lens that’s different from the material used in the rest of the camera body. The shutter button and the button used to extend the lens now have dimples as well, presumably to make it easier to locate the buttons by feel when shooting.

Aside from the slight design change, Fujifilm has also added an Automatic Exposure mode that adjusts the shutter speed and flash output based on the ambient lighting environment. Previously, the only option was to choose from a selection of presets that were changed by twisting a ring around the lens.

Fujifilm has also added a new Selfie Mode that, according to Fujifilm, ‘makes it super easy to take selfies and close-up pictures.’ A small convex mirror on the front of the camera makes composing selfies a bit easier as well (this has been on previous-generation Instax Mini cameras).

The Mini 11 also comes in different color options: Blush Pink, Sky Blue, Charcoal Gray, Ice White and Lilac Purple. The Instax Mini 11 is set to ship in mid-March with an MSRP of $ 69.95. In addition to the new camera, Fujifilm has also unveiled two new Instax film varieties: Instax Mini Blue Marble film and Instax Square White Marble film.

{pressrelease}

Fujifilm Unveils Its next Generation Instant Camera: The New Instax Mini 11 Is Here!

Valhalla, N.Y., February 25, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of INSTAX® Mini 11 (Mini 11), the latest innovation in its long line of popular INSTAX instant cameras and Smartphone printers.

The INSTAX® Mini 11 has been designed for optimal portability along with a fresh, trendy look. Available in five new colors, the Mini 11 boasts the following new features and benefits:

Automatic Exposure function for better pictures day or night

The “Automatic Exposure” function automatically senses the level of ambient light when the shutter button is pressed, and optimizes the shutter speed and flash output according to the condition. It allows even novice INSTAX® users to take photos that are automatically properly exposed regardless of conditions, producing high-quality instant photo prints on the spot.

Selfie Mode for quick and easy selfies

Users can activate the Selfie Mode, perfect for taking selfies and close-up shots, by simply pulling out the front end edge of the lens after powering the camera on. This makes it super easy to take selfies and close-up pictures.

Custom, interchangeable shutter buttons for style and personalization

The Mini 11 comes with two replaceable and stylish shutter button stickers; a fun and easy way to change the button’s look and to personalize the camera.

Updated design with attention to detail

Mini 11’s rounder, softer, modern look is a direct homage to its Mini 9 predecessor. Contrasting design elements on the Mini 11 are achieved by using a different material around the lens from the rest of the camera body. The Mini 11 is available in five pastel, pale-tone colors – Blush Pink, Sky Blue, Charcoal Gray, Ice White, and Lilac Purple.

Also accompanying the launch of this exciting new instant camera are two new INSTAX instant film varieties; INSTAX® Mini Blue Marble film and INSTAX® Square White Marble film. Both have marble-patterned print frames transforming everyday photos into unique, fun keepsakes.

Fujifilm’s INSTAX® Mini 11 instant camera will be available at a manufacturer’s suggested retail price of $ 69.95 USD ($ 89.99 CDN) and is expected to be available for purchase mid-March, 2020.

{/pressrelease}

Articles: Digital Photography Review (dpreview.com)

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Affinity Photo 1.8 update adds CR3 support, improved plugin support, better metadata handling and more

27 Feb

Serif has announced an update to its Affinity suite of software, including a version 1.8 update to Affinity Photo. Although not a major overhaul, the update does bring a number of much-requested features and changes.

One of the most welcomed changes in the Affinity 1.8 update is the addition of CR3 support. Now, Canon users can open images captured in Canon’s newest Raw file format. The update also improves lens correction tools, which includes the ability for manual correction override and better functionality when correcting Raw images captured with fixed focal length lenses. Serif has also added improved plugin support within Affinity Photo, including support for Nik Collection 2.5 from DxO.

Support for Canon’s CR3 files has been one of the most-requested features for Affinity Photo.

Other updates include new template functionality, a unified toolbar for macOS users and improved metadata handling that allows you to both edit IPTC data and import XMP metadata files for batch editing. The iPad version of Affinity Photo also gains customizable keyboard shortcuts, bringing it more in line with the desktop version of Affinity Photo.

From Affinity: ‘New support in Affinity Photo for user-editable fields in image metadata, including the IPTC standard for copyright and other information. Plus, save and import metadata files (XMP), batch whole folders of images and tag with appropriate ownership info, and more.’

Affinity Photo 1.8 should be available as an update across your desktop and mobile devices that already have it installed. To find out more or to purchase Affinity Photo, which is available on iPadOS, macOS and Windows devices, head over to Serif’s website.

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the Nikon D6 at WPPI

Behind that lens, and grip and front function buttons

Top plate

Rear plate

Card slots

Viewfinder autofocus

Wireless connectivity, rear screen and burst shooting

Hands-on with the Nikon D6 at WPPI

The point of exposure compensation

How to use exposure compensation

Using exposure compensation to solve exposure problems

Using exposure compensation for creative effect

Checklist

Hands on with the Fujifilm X-T4

Stabilizer

New shutter mechanism

Updated ergonomics for video

The fully articulating screen

The fully articulating screen

Drive dial controls

Total top-plate controls

Ports

Card slots

Battery

Getting a grip

Hands on with the Fujifilm X-T4

Canon EOS R5 at WPPI

Card slots

Top panel

On/Off switch

Rear plate controls

Ports

Canon RF 100-500mm F4.5-7.1L

Canon RF 100-500mm controls

Canon RF 100-500mm controls

Canon EOS R5 at WPPI

Fujifilm Unveils Its next Generation Instant Camera: The New Instax Mini 11 Is Here!

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