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  • What is it like to come back to a DSLR after shooting mirrorless?

    With the 18-135mm attached, the 90D is a larger camera than I’ve become used to carrying. It didn’t get the way of enjoying my vacation, though.

    I’ve been a professional photographer since 2012, when the DSLR reigned supreme. The Canon 5D Mark III was my main body that I used exclusively for photography work. As my personal and professional interests gravitated towards video, I took the plunge and placed an order for the Sony a7R III in February 2018. A year later, I added the Fujifilm X-T3. Slowly but surely, those mirrorless cameras replaced my DSLRs as they better supported my overall vision of being a hybrid photo and video shooter.

    However, the 2019 release of the Canon 90D piqued my interest. How was Canon’s DSLR technology faring in a world where many declare the DSLR to be on its way out? I took the 90D on vacation to Hawaii and committed to using it exclusively for a week. Here are my conclusions.

    First impressions

    The Canon 90D with the 18-135mm kit lens is both bulky and heavy. It’s not a discreet camera by any means. Many people (myself included) gravitate towards mirrorless cameras as they are smaller in size and weight, and the 90D immediately reminded me that the bulk of DSLRs is not something that I miss, especially when I’m on vacation.

    There are times and places you don’t want the bulk of a DSLR

    One thing I do miss is Canon’s vast DSLR lens library. From fisheyes and tilt shifts to super telephoto lenses, Canon offers some of the best and most versatile lenses that even big mirrorless manufacturers such as Sony aren’t producing yet. But for the sake of this test, I stuck with the kit lens for a full week and found that despite its size, 18-135 is an incredibly useful focal range, especially for travel photography. After a week of schlepping it around, I got used to the size and ultimately appreciated the versatility of the lens.

    A little like coming home

    After over one year of shooting Sony and Fujifilm mirrorless, the Canon 90D feels like coming home. The ergonomics, dials and controls were all very familiar and easy to use without making lots of custom settings as you often have to with mirrorless cameras such as Sonys and even Canon’s newest EOS R and RP. It was incredibly easy to power on the camera and just start shooting a wide range of subjects, from a wide landscape shot of a beach, to homing in on the green sea turtles that I suddenly spotted swimming close to shore.

    While 135mm on a crop sensor gives you a nice amount of reach, the Canon 90D gives you even more flexibility since it produces 32-megapixel images. This allows you more flexibility to crop in on your subject in post production, as I did with this image of a mongoose, and some shots of sea turtles.

    Concerns about noise

    One feature that I find indispensable in mirrorless cameras is silent shutter. This is key for certain professional shooting moments, such as in auditoriums or at performances where shutter sounds are frowned upon, or when attempting to capture candid moments. On the Canon 90D, there’s the additional sound of mirror slap and its shutter is clunky and loud: once even startling a group of birds that I was attempting to photograph. There is no subtlety or finesse in the shutter sound and, while there is a full-electronic mode, you can’t avoid the sound of the mirror opening for you to get into live view to use it. Even in everyday travel photography scenarios, the shutter sound was distracting not only to me, but also the subjects I was attempting to photograph.

    Finding in favor of a finder

    The initial familiarity of the Canon DSLR layout was nice at first. However, I quickly became aware that I’d come to find mirrorless cameras offer several key features that make them superior to DSLRs (at least, for my shooting style).

    Caption

    Firstly, DSLRs are restricted to using only optical viewfinders (OVF) while mirrorless cameras offer electronic viewfinders (EVF). Being forced to use an OVF in Hawaii was painful.

    With an EVF, my creative compositions have greatly expanded thanks to the seamless transition between using the LCD and EVF eyepiece to frame my shots. I love the ability to get up high or get down low to compose shots using the LCD. While DSLRs such as the Canon 90D does allow you to enable Live View to shoot still photos with the LCD, it is clunky and isn’t as responsive as LCD shooting on mirrorless cameras. Thus, it felt pointless using the LCD to shoot on the 90D, and I felt like I sacrificed many photo opportunities and creative angles that I would have been able to get with a mirrorless camera.

    Conversely, because DSLRs require the mirror to be flipped up when recording video, you are then restricted to only using the LCD. This is very difficult in bright, outdoor lighting and it quickly became frustrating to not be able to seamlessly transition back and forth between the EVF and LCD as you can on mirrorless cameras.

    All about the flexibility

    Since the Canon 5D series still does not offer tilting or articulating rear screens, I was excited to finally see one on the Canon 90D. As I say, the ability to shoot and compose with a movable LCD on mirrorless cameras has really enhanced my creativity when it comes to image composition.

    Now that I’ve spent some time with the fully-articulated screen on the Canon 90D that can face forward for vlogging, I find that it isn’t very useful for shooting photos. For most photo and video needs, it is more efficient to have a two-axis LCD screen that simply pops out and tilts up or down; you truly only need the 90D’s forward-facing flip screen if you intend to vlog or take selfies.

    The 90D’s fully articulating screen made it easy to get low enough to take this shot, but a tilting display would have made alignment easier.

    In the photo below, I had the camera low to the ground on top of the train tracks and needed to angle the LCD up to compose. It not only took longer to flip the LCD screen out to the left, but it also became hard to center the image since the LCD was so far to one side. This is a case with a simple tilting screen would have worked much better.

    On the other hand, I love the Canon 90D’s screen that lets you turn the LCD inward to face the camera, thereby offering screen protection. It would be fantastic to see other camera manufacturers add this feature to their LCDs.

    The best touchscreen I’ve ever used

    Another thing in favor of the 90D’s screen was that its touch operation is the best I’ve experienced on any DSLR or mirrorless camera. It’s very responsive with no lag, and it allows for multiple functions, from reviewing your images by swiping, selecting quick modes, and (best of all) setting a focus point. I’ve long heard that Canon’s Dual Pixel Autofocus is among the very best, and after trying it on the Canon 90D, I have to agree. When you select a focus point by tapping on the touchscreen, tracking is fast and accurate. This came in handy when shooting this tiny and very fast lizard perched on a sprinkler head. Within seconds of snapping this photo, he took off running.

    Within seconds of snapping this photo, tiny (and very fast) lizard took off running, but the 90D’s live view AF was quick enough to capture him, first.

    All in all…

    After a full week of shooting with the Canon 90D and the kit lens, I’ve adjusted to its size and shooting style. If I had to, I could use this camera comfortably to shoot photos and videos for both fun or professional use. But given the choice, I would still reach for a mirrorless camera instead. It has nothing to do with image quality (I still prefer Canon’s output), or autofocus performance (though Sony still has an edge).

    Instead, it comes down to the DSLR’s lack of an electronic viewfinder (EVF). With mirrorless cameras, I’ve become used to constantly (and rapidly) switch between using the rear LCD screen and EVF to compose and shoot both photos and videos. This transition is quick and seamless on a mirrorless camera. Yes, you have an option to enable Live View shooting on a DSLR like the Canon 90D, but the experience is clunky and therefore not practical on a professional shoot, or even a casual vacation.

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    Articles: Digital Photography Review (dpreview.com)

  • Instagram CEO says it will start testing hidden ‘likes’ in the US starting this week

    After testing it in numerous other regions, including Brazil, Japan, Canada and Australia, Instagram has confirmed it will start hiding ‘likes’ for accounts based in the United States this coming week.

    The confirmation comes from Instagram CEO Adam Mosseri during the below interview at WIRED25. In it, he says certain users in the United States will have ‘private likes’ as soon as this week. Based on how Mosseri addresses the crowd, it appears as though the rollout will be random.

    While elaborating on why Instagram is looking to test this, Mosseri said:

    ‘It’s about young people. The idea is to try and depressurize Instagram [to] make it less of a competition [and] giving people more space to focus on connecting with people that they love [and] the things that inspire them.’

    It very much seems as though this is a work in progress, far from being set in stone, so initial feedback will likely play a major role in whether or not this feature — or mores the lack of a feature — sticks around.

    Articles: Digital Photography Review (dpreview.com)

  • Review: The DJI Mavic Mini is the tiny drone you want in your Xmas stocking

    DJI Mavic Mini
    $ 399 | www.dji.com

    DJI just announced the latest addition to its Mavic series, the Mini, and what’s most notable about it is its weight of 249 grams at takeoff. In the US, the Federal Aviation Administration (FAA) requires registration on all unmanned aerial vehicles weighing between 250 grams (0.55 pounds) and 55 pounds, and similar laws apply in many other countries.

    Ultralight weight may be the Mavic Mini’s headline feature, but focusing on that overlooks the fact that it’s also a pretty capable drone at a very accessible price point. Let’s take a look at the Mavic Mini in more detail to understand where it stands out and what you may need to give up to get a drone this tiny.

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    Key features

    • 249g total weight
    • 1/2.3″ CMOS image sensor
    • 24mm equivalent lens (83º FOV)
    • Fixed F2.8 aperture
    • 12MP photo resolution
    • 2.7K/30p and 1080/30p video
    • 30-minute flight time

    The minuscule Mavic Mini

    When folded down, the Mavic Mini is 140×82×57mm and fits comfortably in the palm of your hand. It’s lighter than most smartphones. The remote, which resembles those used in the Mavic 2 series, minus the electronic display, is slightly larger and heavier than the drone itself, which really puts the size in perspective.

    The Mavic Mini is small, even compared to the Mavic 2 Pro.

    Propellers need to be removed and replaced with a small screwdriver, which is included. This was likely designed to keep the weight down as springs and additional plastic hubs would have added more bulk. Propeller cages, which are included with the Fly More Combo, are light, easy to install, and don’t add more than a gram to the overall takeoff weight.

    What’s impressive is how DJI managed to fit a 3-axis gimbal onto such a light, compact drone. This goes a long way to ensuring smooth, stabilized camera footage. The DJI Spark, by comparison, weighs 50 grams more than the Mavic Mini and only features a 2-axis gimbal.

    ISO 100 | 1/500 sec. | F2.8 | 24mm (equiv)

    Mounted on that 3-axis stabilized gimbal is a 1/2.3” CMOS sensor 12MP camera, similar to the ones found on the Spark, Mavic Air, and Mavic Pro Platinum. The Mini’s camera boasts a 24mm (equiv.) fixed-aperture F2.8 lens with an 83º FOV, and provides an ISO range from 100-3200. The camera doesn’t support Raw image capture, so photos will be Jpeg only. Photo enthusiasts may find this disappointing, but keep in mind this is basically DJI’s entry-level model. Finally, there isn’t a way to attach a polarizing or ND filter onto the lens.

    We speculated earlier about some features the camera might include. Unfortunately, rumors of 4K recording never came to fruition. Instead, a maximum of 2.7K/30p or 1080/60p footage can be acquired at a bitrate of 40 Mbps using the H.264 codec. Unlike other DJI models in its class, there’s no way to adjust the shutter speed. Instead, when shooting video, you can adjust the Exposure Compensation. I underexposed at values ranging from -0.7 to -1.3 to avoid blowing out sensitive areas including skies.

    Sample video from the Mavic Mini shot at 2.7K/30p resolution. YouTube doesn’t like the 2.7K resolution and automatically downscales it to 1080p.

    The Mavic Mini doesn’t come equipped with obstacle avoidance sensors in the front or back. Instead, there are two vision positioning sensors located on the bottom of the aircraft, and these sensors come in handy when flying indoors as they give the drone the ability to hover in place, even without GPS. Considering that DJI’s recent trend has been to include obstacle avoidance systems on its drones, this omission is likely the result of needing to keep the weight under 250g.

    The remote is slightly larger and heavier than the drone itself, which really puts the size in perspective.

    DJI claims 30 minutes as the maximum battery life for the Mini. Where I’m testing in the midwest, the weather has cooled down significantly and in mild winds, at an outdoor temperature of 3ºC (about 37º F), the drone logged an impressive 25-26 minutes of flight time. It’s refreshing to know that the battery life, in reality, is consistent with what is promised by the manufacturer. It’s also rather impressive given the minuscule size, significantly outperforming models like the Spark and Mavic Air.

    Unlike the Mavic 2 series, there isn’t any internal storage for media in the Mini. A memory card slot for a microSD card is located below the battery portal. A micro USB plug is included to charge the drone directly.

    The controls

    A new pared-down app, DJI Fly, was developed for the Mavic Mini. Most of the menu items DJI users have grown accustomed to using on the DJI GO 4 app are either gone or tucked away into a more streamlined display. A simple battery icon lets the user know how much life is left when in flight. Photo mode features timed shots and the option for shooting in Auto or Manual Mode. The video portion is straightforward, allowing users to select Exposure Compensation, resolution, frame rates, and opt for Quick Shots.

    The Mavic Mini’s controller is similar in size to those of other DJI consumer drones. In the case of the Mini, it’s as large as the drone itself.

    Another notable set of missing features are DJI’s Intelligent Flight modes including ActiveTrack, TapFly, and Course Lock. DJI has a history of adding features and modes into periodic app updates, however, so these may be included at some point. Automated Quick Shots available on the Mini include the Dronie, Rocket, Circle, and Helix.

    There are three flying modes: Sport, Position, and Cinematic. The latter automatically adjusts the sensitivity of the joysticks making it relatively easy to acquire smooth, cinematic-like video on the fly without having to make in-app adjustments. Unlike some of DJI’s higher priced models, the Mavic Mini doesn’t include OccuSync 2.0, meaning it’s not compatible with a Smart Controller.

    The user interface on the DJI Fly app is clean and simple. I tested the beta version and found it to be straightforward – something a beginner pilot will appreciate. A lot of the features more seasoned pilots work with are gone but they would likely overwhelm a newbie.

    The new DJI Fly app replaces the DJI GO app used to control other DJI models. It provides a simpler interface that new pilots will appreciate, but experienced pilots may miss some features from DJI GO.

    Safe Fly Zones have been incorporated into the app. This is especially useful for users not familiar with AirMap, Kittyhawk, B4UFly or other airspace management apps that tell you where it’s safe and legal to fly. I’d like to see DJI reintegrate the Battery/Return to Home Indicator feature from the DJI GO App; it’s a much more effective visual for informing remote pilots at any level about status and when it’s time to start landing the aircraft.

    What’s it like to fly?

    I thoroughly enjoyed flying the Mavic Mini both indoors and outdoors. The light weight of the drone made me apprehensive at first, but I was pleasantly surprised to discover that it handled well in moderate winds. It’s much more aerodynamic and durable than the Spark, which feels like a brick in comparison.

    But this little drone has its limits. All it took was one flight along the river in downtown Grand Rapids for me to realize that high winds along Lake Michigan, which the much sturdier Phantom 4 Pro can handle with ease, would blow the Mini away – literally. It’s also quite noisy for such a little machine.

    ISO 100 | 1/40 sec. | F2.8 | 24mm (equiv)

    The camera on the Mini is similar to the Spark and, for comparison’s sake, the DJI Phantom 3 Pro, a model I flew 3+ years ago. The images are good enough for the price point, but people looking to capture fine details or who want more flexibility in setting everything in Manual mode are going to want an upgrade.

    The Mavic Mini lacks the ability to capture 4K footage, something that may bother professionals or enthusiasts, but it’s still capable of producing decent video thanks to the stabilized gimbal. Even in moderate winds, I didn’t experience the dreaded jello effect – a paint point with older models that caused footage to appear wobbly. It’s clear that DJI limited the ability to manipulate the settings in video since beginners are more likely to rely on Auto mode. I brought it out on a semi-cloudy day and it was able to detect the difference in both sunny and overcast conditions and adjust accordingly.

    Who’s it for?

    If you’re creating professional-grade work, this isn’t the drone you’ll want in your arsenal. Those seeking out Raw photos, auto exposure bracketing, and high-end cinematic footage will want to start with the Mavic 2 Pro and go up from there. Even though the Mini can fly up to 500m (1,600 ft.) above ground level, and boasts a range of up to 4km (2.5 miles), it’s not something I’d be comfortable scaling a tall structure with or flying further than 1,000 – 1,500 feet away.

    ISO 100 | 1/320 sec. | F2.8 | 24mm (equiv)

    All that being said, this is the perfect little drone for beginners starting on their drone journey. DJI offers up an array of drones suited for specific purposes and this particular model will definitely appeal to beginners looking for a budget-friendly place to start, hobbyists looking for something portable and simple to operate, and people who don’t aspire to be professional remote pilots but would like to share unique aerial footage to their social media accounts. As the trend continues shifting toward more compact drones, it’ll be exciting to see how better cameras and technology get incorporated over the coming years.

    Final thoughts

    Overall, the Mavic Mini is the perfect drone for beginners. It’s lightweight, easy to set up, and a joy to fly. I tested the Fly More Combo which, at $ 100 more than $ 399 for the basic package, is a steal. It includes 3 batteries, the propeller cage (which is especially useful as the drone will simply bounce off most objects it collides with), and a case to carry it all that’s smaller than a sheet of paper. The convenience factor, alone, is what makes this drone ideal for many uses.

    One final note: while it may not be necessary to register this drone in the US, it goes without saying that users still need to abide by standard airspace rules.

    What we like:

    • Tiny size makes it a true ‘take anywhere’ drone
    • Good photo and video quality for a beginner model
    • Impressive 30-minute flight time

    What we don’t:

    • New DJI Fly app feels a bit rough around the edges
    • No obstacle avoidance system
    • Does not include some of DJI’s intelligent flight modes

    Articles: Digital Photography Review (dpreview.com)

  • A Classic Annie Leibovitz Documentary

    The post A Classic Annie Leibovitz Documentary appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    annie-leibovitz-documentary-1993

    I was at a bookstore the other day and was looking through a great book on the work of Annie Leibovitz – Annie Leibovitz Portraits 2005 – 2016. I am a big fan of Annie Leibovitz’s work and have been ever since I began taking black and white photos and developing them in my darkroom back in the late 80s/early 90s.  Her lighting styles, techniques, and subjects fascinated me. I have her book, Annie Leibovitz At Work, which is not only a great insight into her fantastic images but the equipment and techniques she uses too.

    So, this week, I wanted to share an old Annie Leibovitz documentary from 1993, along with some of Annie’s images to get you inspired on your portrait photographic journey.

    I hope you enjoy her work as much as I do.

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    Angelina Jolie, Dumont Dunes, Baker, CA, 2006 / In celebration of the premier of Maleficent: Mistress of Evil

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    Katy Perry, Paris, France, 2011 / Happy Birthday, Katy

    A post shared by Annie Leibovitz (@annieleibovitz) on

     

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    Arnold Schwarzenegger, Sun Valley, ID, 1997 / In celebration of the premier of Terminator: Dark Fate

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    Serena and Venus Williams, Photo 1: Palm Beach, FL, 2016. Photo 2: West Palm Beach, FL, 1998

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    Jennifer Lawrence, Los Angeles, CA, 2015 / Congratulations on your wedding

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    You may also like:

    • 10 Tips to Create Emotive Portraits
    • What Size Beauty Dish is Right For Your Portrait Photography?
    • How To Use an Outdoor Studio for Natural Portraits
    • 5 Portrait Photography Rules You Should Probably Ignore
    • Portraits: Making the Shot
    • 11 Influential Portrait Photographers you Need to Know
    • 14 Amazing Portrait Recipes
    • Your Guide to Studio Lighting Equipment
    • Fast Flash for Portrait Perfection

    The post A Classic Annie Leibovitz Documentary appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • DPReview TV: Hands-on with anamorphic lenses

    Jordan reviews the Vazen 40mm T2, the first anamorphic lens designed for Micro Four Thirds cameras. In the process, he gives us a great primer on using anamorphic optics for both video and stills.

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    • Intro
    • Spherical vs. anamorphic lenses
    • Size and design
    • Image quality
    • Focus breathing
    • Flare
    • Anamorphic photography
    • Competition
    • Conclusion

    Articles: Digital Photography Review (dpreview.com)

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

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

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

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

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

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

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

    View our SL2 sample gallery

    Go hands-on with the SL2

    Watch DPReview TV’s first impressions

    Press release:

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

    New camera resets the tone for the mirrorless market

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

    CMOS sensor with 47 megapixels for superior image quality

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

    Image stabilization through sensor-shift technology

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

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

    Improved ergonomics for stress-free shooting in any situation

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

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

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

    Streamlined design with new status menus

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

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

    Limitless connections

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

    Maestro III processor for ultra-fast operation

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

    Leica EyeRes® viewfinder with even higher resolution

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

    Perfect tool for cinematographers

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

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

    Leica SL2 specifications

    Price
    MSRP $ 5999
    Body type
    Body type SLR-style mirrorless
    Body material Magnesium alloy
    Sensor
    Max resolution 8368 x 5584
    Image ratio w:h 3:2
    Effective pixels 47 megapixels
    Sensor size Full frame (36 x 24 mm)
    Sensor type CMOS
    Processor Maestro III
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, 100-50000 (expands to 50-50000)
    Boosted ISO (minimum) 50
    White balance presets 8
    Custom white balance Yes
    Image stabilization Sensor-shift
    CIPA image stabilization rating 5.5 stop(s)
    Uncompressed format RAW
    File format
    • JPEG
    • DNG (14-bit)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Manual focus Yes
    Number of focus points 225
    Lens mount Leica L
    Focal length multiplier 1×
    Screen / viewfinder
    Articulated LCD Fixed
    Screen size 3.2″
    Screen dots 2,100,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder magnification 0.78×
    Viewfinder resolution 5,760,000
    Photography features
    Minimum shutter speed 1800 sec
    Maximum shutter speed 1/8000 sec
    Maximum shutter speed (electronic) 1/40000 sec
    Exposure modes
    • Program
    • Shutter priority
    • Aperture priority
    • Manual
    Built-in flash No
    External flash Yes (via hot shoe)
    Flash X sync speed 1/250 sec
    Drive modes
    • Single
    • Continuous
    • Interval
    • Exposure bracketing
    • Multishit
    Continuous drive 20.0 fps
    Self-timer Yes
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    Exposure compensation -3–5 (at 1/3 EV, 1/2 EV steps)
    AE Bracketing ±3 (3, 5 frames at 1/3 EV steps)
    Videography features
    Format MPEG-4, H.264
    Modes
    • 4096 x 2160 @ 60p, MOV, H.264, Linear PCM
    • 4096 x 2160 @ 50p, MOV, H.264, Linear PCM
    • 4096 x 2160 @ 30p, MOV, H.264, Linear PCM
    • 4096 x 2160 @ 25p, MOV, H.264, Linear PCM
    • 4096 x 2160 @ 24p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 60p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 50p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 100p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
    Microphone Stereo
    Speaker Mono
    Storage
    Storage included Dual SD card slots (UHS-II supported)
    Connectivity
    USB USB 3.1 Gen 1 (5 GBit/sec)
    HDMI Yes (10-bit output)
    Microphone port Yes
    Headphone port Yes
    Wireless Built-In
    Wireless notes 802.11ac + Bluetooth
    Remote control Yes (via smartphone)
    Physical
    Environmentally sealed Yes
    Battery Built-in
    Battery description BP-SCL4
    Battery Life (CIPA) 370
    Weight (inc. batteries) 835 g (1.84 lb / 29.45 oz)
    Dimensions 146 x 107 x 42 mm (5.75 x 4.21 x 1.65″)
    Other features
    Orientation sensor Yes
    Timelapse recording Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: Leica SL2 first impressions

    Chris and Jordan are off to Germany to try the new Leica SL2 at Leica headquarters. Will Chris get to keep a camera for his birthday? Will Jordan declare it the best Leica ever for video? Tune in to to get the answers to this and more.

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    • Intro
    • Portraits
    • Design
    • In-body image stabilization (IBIS)
    • Displays
    • Battery
    • Sensor
    • Autofocus
    • Ports
    • Video capabilities
    • Conclusion

    Sample images from this episode

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    Articles: Digital Photography Review (dpreview.com)

  • Leica SL2 pre-production sample gallery (DPReview TV)

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    Leica invited our team from DPReview TV to Germany to test drive the new Leica SL2 – and test drive they did. Check out these samples captured with a pre-production SL2 body.

    View DPReview TV’s Leica SL2 pre-production sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Sony teases its next-generation Quad-Bayer smartphone sensor

    The people at Sony’s image sensor division have posted a teaser video for an upcoming new smartphone image sensor, the IMX686, on the Chinese social media site Weibo. The new chip is the successor to the IMX586, which was one of the first 48MP Quad-Bayer sensors and has been deployed in several high-end smartphones.

    Sony does not reveal the sensor resolution or other specifications in the video but based on rumors about phones that will supposedly use the sensor GSM Arena estimates it to be between 60 and 64MP.

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    The video reveals that the new sensor will be released in 2020 and shows a selection of still images captured in a variety of light conditions. The images are not full size, so it’s hard to make any judgements about image detail or noise, but they do look quite impressive in terms of exposure and dynamic range.

    Given no phone is using the new sensor yet, Sony has used a prototype board connected to a computer to capture the samples. Have a look at the gallery above and check out the full video over on Weibo.

    Articles: Digital Photography Review (dpreview.com)

  • Zeiss announces Radiance Prime lenses with controlled flare effects for cinematographers

    Optical manufacturer Zeiss has announced a new set of lenses based on its Supreme Prime range but which are designed to produce attractive flare easily and in a controlled manner. The Zeiss Supreme Radiance Prime lenses will only be available as a set of seven focal lengths and can only be ordered between now and the end of March 2020.

    The lenses have been created to enable cinematographers to introduce a controlled amount of flare into their productions without losing optical quality. The company claims the Supreme Radiance lenses will provide consistent effects and won’t compromise contrast or light transmission. A new T*Blue coating has been used to generate the flare in the lenses, which are otherwise exactly the same as the existing Supreme Primes.

    The flare from the lenses has a blue tone, and those quoted as having used the lenses talk of a look that is sharp but soft at the same time and highlights the glow. The coating also lends a slightly warmer tone to the footage.

    The set of seven lenses will cover focal lengths from 21mm to 100mm, and a wide covering circle means they are suitable for large format sensors. All are compatible with the ZEISS eXtended Data metadata system and Cooke’s i/Technology for recording shooting information on along with each frame to help special effects teams integrating additional content into the picture.

    Zeiss hasn’t yet announced a price for the lenses but says they will start shipping April 2020. For more information see the Zeiss website.

    Press Release:

    ZEISS Unveils New High-End Cinematography Optics: ZEISS Supreme Prime Radiance Lenses

    A Modern Lens, based on ZEISS Supreme Prime lenses, with Controlled Flares – orders possible by 31st March 2020!

    ZEISS has unveiled the ZEISS Supreme Prime Radiance lenses, an exclusive new set of seven high-end cinematography lenses. The lenses are based on the high-speed ZEISS Supreme Prime lens family with the benefit of the new T*blue coating, which offers a distinctive look and consistent flares without any compromises.

    “The ZEISS Supreme Prime Radiance lenses deliver stunning, consistent flares across all focal lengths that cinematographers can create at will,” says Christophe Casenave, Product Manager for Cinema Products at ZEISS. “The new lens family has been infused with ZEISS’s experience and passion for premium-quality cinematography lenses – combined with its aspiration to support filmmakers throughout the creative process,” says Casenave.

    ZEISS Unveils New High-End Cinematography Optics: ZEISS Supreme Prime Radiance Lenses

    Controlled images that exude artistic flair
    The ZEISS Supreme Prime Radiance lenses are available as a set of seven focal lengths of between 21 and 100 millimeters, all with a maximum aperture of T1.5. This makes it possible to capture subtle nuances, even in poor light.

    “When we spoke to filmmakers and industry experts, we took a close look at the appeal of flares and their unique impact on the atmosphere of a movie,” says Casenave. He describes how ZEISS is responding to users’ needs to integrate flares to ensure greater creative freedom with the lenses: “We didn’t just want to reproduce the effects, but to create tools that would allow this effect to be achieved at any time and in a controlled manner, and so the T* blue coating was born.” The new coating allows users to create flares in the right light without any losses in contrast or transmission – and in the high quality that customers have come to expect from ZEISS.

    The versatility of the lenses can be used to create this visual look, which is due to the smooth depth of field and elegant bokeh, thus meeting users’ every artistic wish – from a blockbuster to a high-end commercial or a film d’auteur.

    Compact, lightweight full-frame lenses

    In addition to their flare behavior, the new lenses offer all the benefits of the ZEISS Supreme Primes. Thanks to their image circle diameter of 46.3 millimeters, they cover the current large-format cinematography sensors and are as such compatible with the latest camera models, such as the Sony Venice, ARRI Alexa LF, and Mini LF and RED Monstro. Moreover, they feature a front diameter of 95 millimeters with consistently positioned focus and aperture rings. They weigh around 1,500 grams on average.

    The lenses are equipped with the ZEISS eXtended Data metadata technology launched in 2017, providing frame-by-frame data on lens vignetting and distortion in addition to the standard metadata provided using the Cooke /i technology1 protocol. This simplifies and speeds up workflows, particularly for VFX and Virtual Production.

    Limited availability

    The ZEISS Supreme Prime Radiance lenses are available to order from announcement until March 31st, 2020. The seven focal lengths – 21 mm T1.5, 25 mm T1.5, 29 mm T1.5, 35 mm T1.5, 50 mm T1.5, 85 mm T1.5 and 100 mm T1.5 – are available exclusively as a set from ZEISS Cinema dealers. The lenses will be delivered from April 2020 after the end of the ordering period.

    From November, 9th -16th ,2019, ZEISS will be unveiling its ZEISS Supreme Prime Radiance lenses for the first time before a large audience at the CAMERIMAGE International Film Festival in Toru?, Poland. The short film R&R by Rodrigo Prieto (DOP of movies like The Irishman, The Wolf of Wall Street and Brokeback Mountain) shot with ZEISS Supreme Prime Radiance lenses, will also be shown at the festival. After CAMERIMAGE, ZEISS will be running a series of events at various rental houses around the world to give cinematographers the chance to try out the new lenses.

    To find out more, please visit: www.zeiss.com/cine/radiance.

    Articles: Digital Photography Review (dpreview.com)