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MSI Creator 17 is the world’s first laptop with a Mini LED HDR 1000 display

15 Jan

In late December and again during CES 2020, MSI introduced a laptop designed specifically for graphics professionals: the MSI Creator 17 (not the be confused with the company’s Creator 17M model). This is the world’s first laptop to feature a Mini LED display that meets the HDR 1000 standard, making it ideal for photographers, filmmakers and others who work in visual professions.

Though the MSI Creator 17 isn’t yet available and hasn’t been fully detailed at this time, the company did discuss its new display technology in detail during CES. According to MSI, the Creator 17 features a 4K 17in display with 1,000 nits brightness, 240 local dimming zones and Mini LED backlighting.

Mini LED display technology has thus far only been offered in select television models, but it is expected to expand into the smartphone and laptop markets in coming years. The MSI Creator 17’s display offers 100% DCI-P3 coverage, plus MSI says that its display is ‘immune to burn-in problems.’

A simulated graphic from MSI showing the advantages of Mini LED technology.

Among other things, MSI says buyers can expect ‘close-to-real color accuracy’ from the laptop’s 4K display, as well as the power efficiency and thinness that come with the technology. Most of the Creator 17 specifications have not been revealed at this time, but MSI did reveal that its new model will feature a USB-C port for powering up to 8K displays and the fastest UHS-III SD card reader currently available on the market.

Pricing and availability are unknown at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D3500 review

15 Jan

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Introduction:

The Nikon D3500 is a 24 megapixel entry-level DSLR with an APS-C CMOS sensor, that is cheaper, lighter, and has a longer battery life than the D3400 that it replaced. It was designed with the new photographer in mind and features a Guide Mode that will essentially teach you how to shoot in various situations.

Key specifications:

  • 24 megapixel APS-C CMOS sensor
  • EXPEED 4 image processor
  • ISO range of 100-25600
  • 11-point autofocus system through the optical viewfinder
  • Shoots continuously at 5 frames per second
  • Capable of ‘Full HD’ 1080/60p video
  • Bluetooth for image transfer
  • 921k fixed LCD screen
  • Battery rated for 1,550 shots per charge (CIPA)

The D3500 is available with an MSRP of $ 499.95 with the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR, and $ 849.95 with the 18-55mm and an AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED.

What is it?

Out-of-camera JPEG
Nikon 18-55 F3.5-5.6 lens @ 23mm | ISO 400 | 1/125 sec | F5
Photo by: Jeanette Moses

It can be admittedly hard to get excited about entry-level DSLRs: they’re bulky compared to mirrorless cameras and can be somewhat limiting in some respects, but for beginners they are a great place to start. The Nikon D3400 that this camera replaces was always very good, and the 24 megapixel sensor inside the D3500 is still one of the best APS-C sensors around.

This is a camera that a brand-new photographer can pick up and start making decent pictures without a steep learning curve

The D3500’s Guide Mode puts it into an ‘easy-to-use’ space in the market. This mode makes it easy to tell the camera what kind of scene you are trying to capture and essentially teaches you the basics of photography, such as shutter speed, aperture and exposure compensation along the way. This is a camera that a brand new photographer can pick up and start making decent pictures without a steep learning curve.

It’s not as simple as shooting with a smartphone, but the image quality is better than you’ll get from your phone in a whole lot of situations: especially if you are shooting with a fast prime lens. The D3500 is also a great deal. You can pick this one up with a lens for under $ 500, making it incredibly appealing for newbie photographers.

Nikon’s 35mm F1.8 DX lens is an excellent companion to the D3500.

We spent time with the D3500 around Brooklyn with the standard 18-55mm f/3.5-5.6G VR kit lens and an additional 35mm f/1.8G DX Nikkor lens.

What’s new?

Although this is a very compact DSLR, you’ll never forget that it’s hanging off your shoulder: DSLRs can only be so small. As a result of its form factor, though, the camera’s hand grip is still substantial and comfortable. The camera’s back buttons have been reorganized, so that everything sits on the right side of the camera within easy reach.

Nikon omitted a ‘Fn’ button on the back of the D3500 in an effort to keep the user operation simple.

The D3500’s battery life has increased by thirty percent and has a CIPA rating of 1550 shots. That’s a lot of photos, and these ratings much lower than you’ll usually see in the real world. Expect to be able to get through nearly a week of casual shooting and image reviewing without having to charge up.

The biggest changes here are the inclusion of the Guide Mode menu, making it easy for entry level photographers to capture a variety of scenes. In ‘easy operation’ mode shooters can select options like ‘moving subjects’ and the camera will automatically adjust to this mode. ‘Advanced operation’ lets shooters refine settings like shutter speed, aperture and ISO.

What stands out about the camera?

The D3500 is so compact and lightweight that, as someone who usually uses a higher-end body, it felt a little bit like shooting with a toy. It’s comfortable for a full day of shooting, but like most entry-level cameras, it has a body that feels like it could easily get dinged-up if you aren’t careful. Of course the benefit is that its lightweight, making it easy to take everywhere, but there were situations where I found myself thinking twice about shooting with it.

Its lightweight, making it easy to take everywhere

The camera’s menu systems were easy enough to navigate for changing settings, but the layout of the camera’s back buttons and dials left something to be desired. The grip itself is comfortable, but the redesigned layout of buttons makes the back and top of the camera a little cluttered. I found it difficult to change certain settings while my eye was to the viewfinder, especially while I was shooting in manual mode and attempting to adjust my aperture. Changing ISO is also a bit cumbersome. There is no dedicated ISO button so adjustments must be made by diving into the menus on the camera.

The most compelling feature of the DSLR design is its optical viewfinder, which lets you see the world directly through the camera’s lens.

One of the consequences of the DSLR design is that the D3500 only offers eleven autofocus points, all clustered fairly near the middle of the frame. As you learn and grow with the camera, you might find this limiting. The autofocus system on the camera feels quite dated, even for an entry-level camera. It has a hard time keeping up in low-light situations and when your eye is to the viewfinder it can be a little difficult to tell which point is selected. Pressing the shutter down half-way to initiate autofocus before firing a shot shows you what point is selected, but the red dot only appears for half a second, is quite faint, and occasionally will trigger a red glow from other spots in the viewfinder.

Face-detection AF only works in Live View mode, where the rear screen is used to frame up your photo, instead of the viewfinder and although it reacts quickly in sunny conditions, indoors it got laggy seemed to have trouble keeping up. There is no touch-screen functionality on the 921k LCD screen, which can be a little frustrating if you’re used to shooting mirrorless or with a phone. Another unfamiliar (but minor) annoyance could be that the optical viewfinder only covers 95 percent of the frame. It’s pretty standard for an entry-level DSLR like this, but means it’s hard to precisely judge what is and isn’t in the edges of your photo.

The AF does a fine job when you have a static subject, but with something fast moving you will probably have to learn to pre-focus at the point you expect the subject to arrive at, which may require some trial-and-error.

The camera’s ‘Guide’ mode tries to help teach you the camera’s functions and how to get the most out of it.

The camera’s image quality is beautiful on the low end of the ISO range and just fine up to about ISO 6400. On the higher end of the range things start to deteriorate. We didn’t love the amount of noise that we were seeing on files shot at ISO 12800.

The battery life on the D3500 is amazing, though. It will effectively last for days at a time if you shoot through the optical viewfinder: longer than its predecessor or mirrorless cameras. You can’t charge over USB, which is disappointing, but during our time with the camera we didn’t even notice a percentage drop on the battery.

Although the Guide Mode can be incredibly helpful for new photographers, we didn’t find the camera quite as dependable as we’d like. Unlike mirrorless cameras, which use their main sensor to assess exposure, the D3500 uses a small, dedicated metering sensor. We found the results to be more inconsistent than we’ve become used to, with photos that were too bright or too dark. And, because we were looking through an optical viewfinder, we only found this out once we’d taken the shot: making it hard to preemptively apply exposure compensation to correct this.

Out of camera JPEG.
Nikon DX 35mm F1.8 G | ISO 100 | 1/500 sec | F3.2
Photo by: Jeanette Moses

The camera lacks Wi-Fi and uses a much slower Bluetooth connection to transfer images, via Nikon’s SnapBridge app. You can transfer 2 megapixel versions from the camera to your smartphone automatically or one at a time, but it takes a while. And if you want access to the full resolution images that the camera is capable of shooting, which you absolutely should, you are simply better off waiting to unload files onto your computer, or smart device using a memory-card reader.

Because it’s a DSLR, you have to flip the mirror up, block the optical viewfinder and use live-view mode to shoot video. The D3500’s video capability tops out at Full HD at 1080/60p, which seems odd considering that 4K seems to be baked into everything hitting the market, but is also likely one of the reasons that the D3500 is so accessible when it comes to price. It’s fine for short clips, but it does feel like a bit of an afterthought. This is a camera that is far more capable for handling stills photography and you would probably be better off shooting video with your smartphone.

Although the experience of shooting with the camera was just okay, the images that it produced were good quality, especially when considering the low price for the kit.

Conclusion

The D3500 is a capable camera available as a competitive price, and is very small for a DSLR.

Ultimately the D3500 is a very capable and affordable camera for beginners and young families. It does a fine job capturing ‘candids’ and other casual shots. Although the Guide Mode leaves something to be desired for seasoned shooters, it does offer a non-intimidating way to learn about some of the more technical aspects of photography.

The autofocus on the camera can be a bit limited—especially if you are dealing with tricky lighting situations or very fast moving subjects. It isn’t the most fun camera to shoot with, but the image quality is good. The 24-megapixel sensor and EXPEED 4 image processor make for high-quality frames that would look great as prints.

D3500 is an affordable camera that is simple enough to not be intimidating

If you are looking to capture a lot of movies with your camera you will probably want to look elsewhere, as the D3500 is a camera that was made for primarily capturing stills. It is just fine for short clips, but there are much better options on the market for video making. We don’t love the outdated 11-point AF system, the lack of a touchscreen or the cluttered nature of the back buttons. Having a dedicated ISO button on the back of the camera would have been a worthy addition here.

Overall the D3500 is an affordable camera that is simple enough to not be intimidating, but features enough tech that a young photographer could grow into it. The D3500 probably won’t be a ‘forever’ camera, but it’s a solid place to start.


Sample galleries:

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Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about the changes to our scoring system and what these numbers mean.

Nikon D3500
Category: Entry Level Interchangeable Lens Camera / DSLR
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Performance
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The D3500 is a compact and likeable DSLR for beginners. It's not great for video and its image transfer is slow. But for stills it's a solid choice
and its Guide Mode makes it easy to learn.

Good for
Beginners who want the DSLR experience

Not so good for
Video shooters or anyone expecting a phone-like 'WYSIWYG' shooting experience.
75%
Overall score

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With thanks to Glazers Camera for lending us a D3500 for product photography.

Articles: Digital Photography Review (dpreview.com)

 
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The Autel Evo II will come in three modular models, including two with 8K video

15 Jan

Early last month, a forthcoming EVO II from Autel Robotics was revealed through an FCC filing. The portable follow up to the EVO officially launched at last week’s CES 2020 show. Drone and tech pundit OriginaldoBo made a prediction a week before the conference that this year, industry-dominating company DJI was not going to be the star of CES. Now we know why. Autel has introduced the very first 8K folding drone. The EVO II comes in 3 variants offering up 3 separate camera modules.

  • The standard Autel EVO II has an 8K, 48MP camera with a 1/2″ CMOS sensor. It can capture content at resolutions up to 8,000×6,000 pixels for photos, meaning you could print an image as large as 100 inches wide. Video resolution will max out at 7720×4320 pixels. It also features lossless, in-camera zoom up to 4x. Its weight at takeoff is 1,127 grams (about 2.5 pounds).
  • The EVO II Pro features a 20MP camera with a 1″ CMOS sensor, an adjustable aperture (ranging from f/2.8 to f/11), HDR, an ISO range of 100-12,800, and the ability to capture 6K video. The weight of EVO II Pro at takeoff is 1,174 grams (about 2.6 pounds).
  • The EVO II Dual boasts both a FLIR Boson sensor, with a thermal resolution up to 640×512, plus the same 8K camera that comes with the standard model. Takeoff weight for the EVO II Dual 320 is 1,157 grams (2.55 pounds) and 1,192 grams (2.62 pounds) for the EVO II Dual 640.

All 3 cameras have a maximum bitrate of 120Mbps. They will also feature 10-bit color depth. Autel’s states on its official site that it will continue to update specs, as they become available, but they have not specified whether there is an H.264 or H.265 codec. Information on frame rates is also notably absent at the time of this writing. Each variant of the EVO II is modular. You can upgrade, downgrade, and switch out camera systems without having to purchase a new drone.

The EVO II has a maximum flight time of 40 minutes and a transmission range of 9 km (5.6 miles). While most users will not need to fly this far, Autel states that a longer range ‘also means a stronger signal.’ It can operate at a maximum speed of 45 miles per hour (20.1 m/s). 12 AI-powered computer vision sensors give it omnidirectional obstacle avoidance that can also be disabled if the user wants full, uninterrupted control. 8GB of onboard storage is available with the option of adding an external microSD card up to 256GB.

What drone enthusiasts and professionals, especially, will appreciate is that Autel does not equip its drones with geofencing. While the feature, found in all contemporary DJI models, prevents drones from flying into restricted areas, including controlled airspace, it can also create a major inconvenience if a pilot secures permission to fly in a designated area and is unable to unlock the zone as planned.

The EVO II is currently in production. The EVO II is $ 1,495 and the EVO II Pro is $ 1,795. Those interested in purchasing an EVO II Dual will need to contact Autel for pricing. Availability and shipping dates will be announced soon, according to Autel’s official site.

Articles: Digital Photography Review (dpreview.com)

 
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Paul C. Buff launches LINK 800WS plug-and-play LED flash unit

15 Jan

Paul C. Buff Inc., the company known for its professional lighting products, has introduced LINK 800WS, a new portable flash unit that features up to 800 watts of power, multiple shooting modes, 1 to 10 adjustable f-stops and a digital LCD. The product’s name refers to the company’s effort to link its ‘past products with currently photography needs,’ according to the PCB.

The LINK 800WS flash unit is Paul C. Buff Inc.’s most powerful and versatile light ever launched. The product packs a daylight-balanced LED modeling light and detachable battery into an all-metal housing; the model supports umbrella rods up to 9mm and has a stand mount that supports up to 5/8in stands. The portable flash unit is fairly compact at 16.5cm x 12.1cm x 32cm (6.5in x 4.8in x 12.6in) with a weight of 3.9kg (8lbs, 7oz) including the battery.

In addition to HSS / TTL modes, the LINK 800WS also features an Action Mode and a Color Mode. Other features include 3.5s recycle time, 8.8cm (3.5in) LCD, plug-and-play support for 100 to 240 voltages, +/- 100K color consistency at any power level, support for speeds up to 1/154,000s and an included magnetic rubber diffusion dome.

The LINK 800WS is currently listed on the Paul C. Buff Inc. website for $ 895.95, but the company says it won’t be available to purchase until Spring 2020. The light will work with the new HUB remote and BUFF mobile app on iOS and Android. Buyers will have the option of choosing a LINK 800WS bundle that includes the flash, charger, battery, and the HUB remote for Nikon or Canon (or, later on, Sony) for $ 1,196.

Articles: Digital Photography Review (dpreview.com)

 
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5 Tips for Becoming an Environmentally Conscious Photographer

15 Jan

The post 5 Tips for Becoming an Environmentally Conscious Photographer appeared first on Digital Photography School. It was authored by Charlie Moss.

environmentally-conscious-photographer-tips

Being an environmentally conscious photographer should be on all of our minds. The world is changing irreversibly as a result of human intervention, and we need to consider carefully the impact that we make.

Photography is a hobby that has traditionally not been kind to the environment. Manufacturing processes, film development, and the industry required to create digital cameras all take their toll on the planet. So to does travel by photographers seeking new subjects to photograph.

But it is possible to be a photographer and still be considerate of the environment, helping to preserve it for future generations.

environmentally conscious photographer

ISO200, 35mm (50mm equiv.), f11, 1/180th sec

See the beauty of your home area

Many of us photographers can be guilty of lusting after exotic locations.

We’re sold the dream that we’ll create photographs that are more special than we’ve ever shot before. But if we’re to be a more environmentally conscious photographer, cutting down on air travel is one of the biggest lifestyle changes we can make that will help the environment.

Image: ISO1600, 35mm (50mm equiv.), f2.8, 1/2000th sec

ISO1600, 35mm (50mm equiv.), f2.8, 1/2000th sec

The truth is, people on the other side of the globe will see your local area as exotic and photogenic because it’s something that they’ve not experienced before. It does take a little more effort on your part to imagine how a visitor might see the surroundings that you see every day, but that can be part of the challenge and joy of photography!

Every time you’re photographing locally, try and imagine it is the first time you’ve ever been there. Look for the small details that you might usually miss, and think about what would wow a visitor.

Consider if you really need an upgrade

I know – we all love a new piece of photography gear. But before you purchase an upgrade, consider if you really need something new. Manufacturing harms the environment because of the use of materials and chemical processes. So if you can delay that upgrade for a little while, you can ease the strain on our planet. Plus, how many megapixels do we really need anyway?

environmentally conscious photographer

ISO800, 35mm (50mm equiv.), f4.0, 1/320th sec

If you really do need to upgrade, consider how you can pass along your old gear to someone who will use it so that they don’t have to purchase from new. Either sell it to someone looking for their own upgrade or pass it along to a friend who is getting started in photography.

Both are better options for an environmentally conscious photographer than letting it languish unused on a shelf or ending up in a landfill site.

Work with local people

Many of us enjoy photographing people or getting lessons from experts. This often involves travel to visit models or the studios of photographers that are a considerable distance away.

Image: ISO200, 35mm (50mm equiv.), f1.4, 1/500th sec

ISO200, 35mm (50mm equiv.), f1.4, 1/500th sec

Instead of traveling these long distances, why not look at who is available locally that you could hire to photograph or learn from? You never know, you might discover a real gem in the process!

Perhaps even try taking online classes and shooting some self-portraits – you might even love the results!

And if you do really need to travel to someone or for them to travel to you, how about checking out public transport? It’s not feasible for every journey, but it does help to keep your environmental footprint to a minimum. You will have to learn to pack light, though!

Find a low-impact genre of photography

Really, it’s a bit like turning the lights off when you’re out of the room. If everybody did just a little bit towards helping the environment, we’d all make a big difference.

Image: ISO400, 35mm (50mm equiv.), f5, 1/160th sec

ISO400, 35mm (50mm equiv.), f5, 1/160th sec

With that in mind, imagine if all photographers found a kind of photography that they could do locally that had almost no environmental impact at all? It wouldn’t have to replace all of the photography they loved, but if it just replaced a little bit, and everyone did something similar, then it could make a huge difference.

Local street photography, tabletop still life, portraiture, and local architecture photography are all different genres that you can do with a minimum of equipment and environmental impact.

If you love still life, you could explore the local farmers market for new objects to photograph. Or how about photographing ‘local heroes’ if you’re more into portrait photography?

The opportunities are limitless for an environmentally conscious photographer, and they’re right on your doorstep. You don’t need to rack up the miles to create great images.

Be mindful when you do enjoy the countryside

If you are going out and about into nature to do photography, ensure that you’re knowledgeable about your surroundings. Be respectful of areas where animals and rare plant life might be living. Learn about the environment that you’re photographing and leave it clean and unbroken; this is what it means to be an environmentally conscious photographer.

environmentally conscious photographer

ISO400, 35mm (50mm equiv.), f2.8, 1/140th sec

Perhaps even consider not sharing the location of incredible places you find with other photographers to prevent it from damage. Unfortunately, there will always be those who respect nature less than they should, leading to the damage of habitats that wildlife so desperately need in our world.

It’s about everyone doing their bit

The point is not to suck all of the fun out of photography. Not at all. But instead to raise awareness about the difference we could make.

Photography can be an activity that is very taxing on the environment in many different ways. The key is to be aware of this fact and then, as photographers, make different decisions about our purchasing, traveling, and photographing habits.

environmentally conscious photographer

ISO200, 140mm (200mm equiv.), f3.2, 1/110th sec

After all, what good is a box full of photographs of beautiful sights, if we have damaged those sights beyond all recognition? It would mean that future generations could not enjoy peaceful moments with their cameras in the same way that we have done.

So I urge you to think about your approach to photography and consider if you can lessen your impact on the environment while learning more about it. And then see if you can persuade others to follow your example. That way, we can all work together, as environmentally conscious photographers, to help preserve our world for the future.

Do you have any other tips you would like to share on becoming an environmentally conscious photographer? Please do so in the comments!

The post 5 Tips for Becoming an Environmentally Conscious Photographer appeared first on Digital Photography School. It was authored by Charlie Moss.


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Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review

15 Jan

The post Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.

fujinon-XF-100-400mm-lens-review

One of the reasons why I moved from DSLRs to the Fujifilm X-Series system a few years ago was because of the smaller, lighter camera bodies and lenses. So given that, it seems odd that I added the monster Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens to my kit. 

fujifilm-fujinon-XF-100-400mm-lens-review

Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens mounted on a tripod – it’s pretty big.

At the time of its release in 2016, this was the biggest and heaviest line in the X-Series by far, being eclipsed in terms of size and weight only by the XF 200mm F2 R LM OIS WR lens in 2019. 

So given its hefty size (and price tag), you might well wonder why I bought it? It’s really quite simple: I love telephoto lenses! 

Given the option of a telephoto or an ultra-wide angle, I’d choose the telephoto every time. I love how you can pick out details of a scene with a telephoto to fill the frame. I also love how a telephoto lens gives the impression of “flattening” scenes – making faraway objects look close together. 

Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens review

In this review, I list the specifications of the 100-400mm lens, examine its build quality, handling, and optical performance, as well as discussing what it’s like to use and who would benefit from having it in their kit. 

Image: This shot wouldn’t have been possible without a telephoto lens. I took a whole series of imag...

This shot wouldn’t have been possible without a telephoto lens. I took a whole series of images of this cheeky guy sitting on top of a sunflower in Southern Queensland.

Specifications

The specifications of the Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens are truly impressive. Let’s have a look at what all those numbers and letters mean. 

Fujinon is the brand name that Fujifilm use for their excellent lenses. XF denotes the high-performing lenses in the X-Series line-up. There is also a range of cheaper, yet very good value for money lenses with the letters XC on them. 

fujifilm-fujinon-XF-100-400mm-lens-review

The Manly Ferry gliding along Sydney Harbour in the morning. This ferry was a long way away. The reach of this lens is incredible.

The next set of letters and numbers denotes the focal range of the lens: 100-400mm. As the X-Series bodies have APS-C sensors with a 1.5 crop factor, this gives the lens a full-frame equivalent focal range of approximately 150mm to 600mm. This is not just a telephoto zoom; this is a super-telephoto zoom.

The next bit of information refers to the variable aperture of the lens: f/4.5-5.6. Like many zooms, the maximum aperture increases as you zoom in. At 100mm, the maximum aperture is f/4.5, at 200mm, it’s f/5, at 300mm, it’s f/5.2, and at 400mm, it’s f/5.6.

The R denotes that, like the vast majority of X-Series lenses, it has a ring to control aperture on the lens barrel. This is a feature that I love so much. I’m so used to changing the aperture on the lens now, I’m not sure I could move back to a system where I couldn’t do that. 

LM stands for linear motor – this ensures high speed autofocusing, quiet operation, and low power consumption. OIS stands for optical image stabilization – the linear motor checks for camera shake 8000 times a second. Fujifilm claims that the lens has a five-stop image stabilization system for shake-free results. 

Image: Early morning on Sydney Harbour. I love how you can pick elements out of a scene and fill the...

Early morning on Sydney Harbour. I love how you can pick elements out of a scene and fill the frame with a telephoto lens.

WR stands for weather resistance. Paired with a WR body such as the Fujifilm X-T2 or X-T3, you can be confident using your kit in extreme environments where water and dust is an issue. You can use this lens in temperatures as low as -10°C. There’s a water-resistant fluorine coating applied to the front lens element, making it less susceptible to smudges and easier to clean. 

fujifilm-fujinon-XF-100-400mm-lens-review

Wallabies at Mt Cotton, Queensland.

Build

The build quality of this lens is very good, though it doesn’t feel quite in the same class as the other Fujinon red badge zoom lenses (the XF 16-55mm F2.8 R LM WR lens and the XF 50-140mm F2.8 R LM OIS WR lens). 

This is probably because the superzoom is made of high-grade plastic rather than metal. I’m guessing that an all-metal barrel would’ve made the lens too heavy, so you can understand the choice here. 

Only the mounting ring and tripod collar are metal. You can easily remove the tripod collar if you don’t need it. The lens hood is plastic but features a filter door, which allows you to rotate a circular polarizing filter, for example. 

Image: I love how telephoto lenses make faraway objects look close together. Mountain ranges on the...

I love how telephoto lenses make faraway objects look close together. Mountain ranges on the Queensland/New South Wales border in Australia.

The lens weighs 1.375kg and takes 77mm filters. It’s compatible with both the 1.4x and 2.0x X-Series teleconverters, giving you the potential to shoot at up to 852mm and 1218mm in full-frame equivalent terms. However, this comes at the cost of 1 and 2 stops of light, respectively. 

Handling

Okay, so this lens is big…so big that it makes the 50-140 look compact, and most other lenses in the X-Series line up look tiny. The first time you pick it up, it does feel bulky but compared to many other lenses of this focal range, it’s definitely on the lighter side. 

fujifilm-fujinon-XF-100-400mm-lens-review

Yep, it’s a whopper! Yet it’s still possible to hold the lens in one hand with relative comfort. I have the lens extended to 400mm here.

The length of the lens, especially when zoomed in, is quite large, and it dwarfs the size of the camera body. Yet there is a surprisingly comfortable balance when shooting with it. In fact, the lens feels lighter in my hands than it does when I carry it around in my backpack.

The zoom action is very smooth – you can move the entire range easily while supporting the weight of the lens. Like almost every other X-Series lens, there is a ring around the lens that changes aperture in third stop clicks. The variable aperture of this zoom means there are no aperture markings around the barrel like the 50-140 or any of the prime lenses. Instead, you need to check aperture in the viewfinder or LCD. 

There are three switches down the side of the lens. The first is a switch that controls the range of the zoom. The two options are for full range (1.75m to infinity) and 5 meters to infinity. The latter allows for faster focusing. 

The next switch down is for controlling the aperture manually or automatically – something that all Fujifilm zoom lenses have. 

fujifilm-fujinon-XF-100-400mm-lens-review

The three switches on the side of the 100-400mm lens.

The third switch is to turn optical image stabilization (OIS) on or off. OIS is a godsend for handheld shooting: the lens is capable of taking some incredibly sharp images at relatively low shutter speeds. Typically, you would turn OIS off when the lens is in use on a tripod, but you may want to experiment with this. 

For example, when I was taking photos of the Sydney Opera House at the Vivid Festival, I was shooting from the footpath on the Cahill Expressway. There were minute vibrations from the traffic, so I felt that I was getting better images with OIS turned on. 

Further up the lens barrel, there is a lock switch which will prevent lens creep as it stops the lens moving past 100mm. 

Image: OIS is a godsend, sometimes even when shooting on a tripod. Sydney Opera House during Vivid F...

OIS is a godsend, sometimes even when shooting on a tripod. Sydney Opera House during Vivid Festival.

Image quality

Fujifilm is one of the world’s best lens makers, so as you’d expect, the optical quality of this lens is excellent. It’s capable of producing stunning images across the focal range. However, I did get the feeling my images zoomed all the way in at 400mm were not quite as sharp as those taken towards the wider end of the zoom. 

Image: I took the lens to a local speedway and was impressed with the results.

I took the lens to a local speedway and was impressed with the results.

Shooting handheld, the lens feels nicely balanced. I’ve used it for cityscapes, sports, wildlife and landscapes. Autofocus is very good, especially when used in conjunction with the X-T2 or X-T3’s continuous focus and tracking options. 

When I first got the lens, I took it to a local speedway to test out. Given that it was the first time I’d shot motorsports, I was very impressed with the images I took with this lens. It has a cool feature when it detects panning: it automatically switches camera shake correction to the vertical plane only. 

The lens also has a very pleasing bokeh. While I’ve never used it for portraits, with many of my wildlife photos, the out-of-focus areas in the background look beautiful and don’t detract from the images. 

fujifilm-fujinon-XF-100-400mm-lens-review

Sunflowers in Southern Queensland. I love the bokeh that this lens produces.

Conclusion

If you love a superzoom, there is only one option with the Fujifilm X-Series at the moment, and what a choice it is: the Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens.

Suited to wildlife and sports shooters primarily, the lens can also be used by landscape and cityscape photographers. The lens has a fantastic range of features, including weather resistance and OIS. It is relatively light for a lens with this range and has excellent optics. 

Image: A superzoom gives you the option of shooting sports you wouldn’t be able to with a shorter zo...

A superzoom gives you the option of shooting sports you wouldn’t be able to with a shorter zoom.

Overall, I would say that the lens is good value for money, though perhaps not as good as other lenses in the X-Series line-up. The price of the lens has stayed steady since its release. However, you can sometimes get discounts or cashback offers, substantially bringing down the cost. 

I have no hesitation recommending the Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens. Just writing the review and looking at the photos it produces makes me want to get out and use it right now. 

The post Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.


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Manfrotto launches new ‘Pro Rugged’ line of SD, Micro SD memory cards

15 Jan

Italian tripod and accessory manufacturer Manfrotto has launched a range of memory cards that it claims is the strongest on the market. Comprising of SD, MicroSD and CompactFlash models, the Pro Rugged series is claimed to combine high-speed performance with waterproof, crush-proof and temperature-proof build quality that can withstand extremes of use and conditions.

The SD cards particularly are sealed against ingress of water and dust, and can remain underwater for up to 72 hours without suffering damage. They are made from a solid moulded piece of plastic and are said to be three times stronger than normal cards and able to survive a 20kg impact. Tested in temperatures of between -25 degrees C to 85 degrees C, the SD cards come in 64 and 128GB capacities and have a V90 rating that sees 280MB/s and 250MB/s read/write speeds.

The Pro Rugged MicroSD cards are V30 rated, offer 90MB/s read/write speeds and come in 64 and 128GB capacities, while the CompactFlash cards are UDMA 7 rated, offer 160MB/s and 130MB/s read/write speeds and also come in 64/128GB varieties. The CF cards aren’t waterproof but Manfrotto claims they are made from tougher materials than most cards, that they will last longer and that they can withstand a 35kg impact. They are suited to use in temperatures of between freezing and 70 degrees C.

The SD cards are half price at the moment on the Manfrotto website and are listed at $ 57.50/£47.50 and $ 112.50/£92.50, while the CF cards are $ 80/£65 and $ 150/£125 and the MicroSD cards are $ 32/£27 and $ 42/£35. Visit Manfrotto’s website for more information.

Articles: Digital Photography Review (dpreview.com)

 
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Sony releases new wireless shooting grip for select mirrorless cameras

14 Jan

Sony has launched the GP-VPT28T, a new wireless shooting grip designed to work with a number of Sony cameras. The grip, which also serves as a tripod, uses Bluetooth connectivity to wirelessly control the shutter, zoom and more on compatible cameras.

Specifically, the grip can trigger both photo and video capture, control zoom on compatible cameras, and trigger a custom setting using the dedicated ‘C’ button on the face of the trigger. There’s also a ‘Lock’ button to ensure you don’t accidentally trigger the camera.

The grip is dust-and-water-resistant and works with the following Sony cameras: a9 II, a9, a7R IV, a7R III, a7 III, a6600, a6400, a6100, and RX100 VII.

The GP-VPT2BT Shooting Grip With Wireless Remote Commander is set to ship this month in North America for $ 140 ($ 180 CAD).

Articles: Digital Photography Review (dpreview.com)

 
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Shooting with the Olympus OM-D E-M5 Mark III in Sonoma County

14 Jan

From rolling vineyards to redwoods to ocean views, Sonoma County is a stunning place to photograph. For restaurateur and cyclist Remi McManus, it’s also a much-needed escape from the stresses of his day-to-day work. On a recent trip, he brought along the Olympus OM-D E-M5 Mark III to capture the sights on a ride through the region, getting better acquainted with its beauty (and wines), as well as the scars that remain after the recent wildfires.

Sample images from this video

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Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics releases Laowa 12mm F2.8 Zero-D Cine lens for PL, EF and E mount cameras

14 Jan

Venus Optics has announced pricing and availability of its Laowa 12mm T2.9 Zero-D Cine lens.

The lens, which Venus Optics claims is ‘the world’s widest T2.9 cinema lens covering Vista Vision/Full frame sensors,’ is a re-engineered version of its 12mm F2.8 Zero-D photo lens. It’s constructed of 16 elements in 10 groups, features two aspherical elements and has a minimum focusing distance of just 18cm (7in) from the sensor.

As the ‘Zero-D’ nomenclature in its name suggests, the Laowa 12mm T2.9 lens features ‘close-to-zero’ distortion. It offers up a 47mm image circle, which is large enough to support both full-frame sensors and the larger Vista Vision sensors found on RED Monstro and Arri Alexa LF cameras. It also works as a 17mm equivalent lens on Super35 sensors.

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Both the aperture and focus rings use standard 0.8 mod gears for easy operability with follow focus systems. The focus ring has a 270-degree throw for smooth and precise adjustments. The lens, which is constructed of an aluminum alloy, measures in at 87mm (3.4in) long and weighs just 675g (1.5lbs).

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The Laowa 12mm T2.9 Zero-D Cine lens is currently available to order in PL, EF and E mount on Venus Optics’ online shop for $ 1,500. In addition to a custom Pelican case, the lens comes with a 114mm step-up ring for attaching matte boxes and other accessories, as well as shims for flange calibration. Pricing will vary in different regions around the world, according to Venus Optics.

Articles: Digital Photography Review (dpreview.com)

 
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