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Xiaomi patent hints at future smartphone with pop-up selfie camera and 8K recording

A new patent belonging to Chinese company Xiaomi has surfaced revealing a new camera design that includes a pop-up selfie camera and a rear square zoom lens. The patent was first spotted by Dutch website Let’s Go Digital, which notes that the patent was recently registered by the Hague International Design System.

The Xiaomi patent covers a mobile phone that features a vertical array of cameras on the back of the handset; the top square lens is believed to possibly be a zoom lens, whereas the lower three circles potentially include another camera, an LED flash, and a third sensor of some type.

The pop-up illustration below shows how the company will handle offering a front-facing camera that doesn’t blemish the model’s bezel-less display.

The patent was granted on August 9, about a month before XDA Developers revealed the existence of a new Xiaomi smartphone featuring a camera with 5x optical zoom and 50x digital zoom. The discovery was made in the beta version of a Xiaomi software update, which itself came shortly before the official unveiling of its new Mi Note 10.

The Mi Note 10 features five cameras, including one with 50x digital zoom and one with 5x optical zoom. It’s unclear whether XDA’s discovery was ultimately pointing toward the Mi Note 10 or a future Xiaomi model, which may have been teased in the newly-published mobile phone patent.

The details uncovered in the software update indicated that the related Xiaomi phone would include 8K/30fps video recording capabilities. In that case, the combination of a newly granted patent and the beta software details make the case for there being another major Xiaomi smartphone in the pipeline, one that may be introduced in 2020.

Articles: Digital Photography Review (dpreview.com)

November 8, 2019
Getty Images is phasing out rights-managed ‘creative images’ in favor of royalty free content

Getty Images has announced that in an effort to streamline the complexities of imaging licensing it will be phasing out rights-managed content in favor of royalty-free imagery for its creative image submissions.

According to the blog post, Getty Images will move to a royalty-free-only creative images offer ‘during 2020,’ with no specific date mentioned. Once the transition goes into effect, image buyers will only see royalty-free creative images.

In the meantime, Getty Images is in the process of a ‘phased retirement’ of rights-managed creative images. To kick off the transition, Getty Images contributors can no longer submit new rights-managed creative images to GettyImages.com (as of November 6, 2019) and by the end of January 2020, all rights-managed images will ‘be removed from single image licensing (sometimes called à la carte) on GettyImages.com.’

After being removed from the single image licensing option, photographers ‘will be able to distribute [their] RM images as [they] wish, with the exception that [they] must not license any rights-managed images (or similar) in a way that conflicts with any active, unexpired exclusive licenses.’

A screenshot of the Getty Images creative content search with the search inquiry ‘mirrorless camera.’

Getty Images says in the announcement it’s ’confidently concluded that the [rights-managed] creative image licensing model no longer meets our [buyers] needs’ following ‘extensive customer research and testing on royalty-free versus rights?managed [content].’

Getty backs up these claims in an FAQ section at the bottom of the article, titled ‘What evidence do you have for customers rejecting rights?managed?’ saying it’s seen a steady ‘year?over?year decline in Creative [rights-managed] à la carte licenses over the last five years, with declines accelerating over time.’

Without seeing the data Getty Images is referencing, it’s difficult to confirm or dispel its reasoning for the transition. The move to royalty-free licensing for creative images gives photographers less control over how their images are used, but should simplify the process for buyers, which in turn could make it more likely their photographs are licensed. Getty Images says ‘Licensing complexity has only led [image buyers] to other content, and in many cases, another provider as the broader industry is now essentially a royalty-free?only model.’

Rights-managed licensing will still be available for Getty Images editorial stills and rights-ready video content, so for the time being it’s only creative images that are affected. If you currently have creative images submitted for inspection, Getty addresses how those images will be handled in the FAQ in the announcement post.

Articles: Digital Photography Review (dpreview.com)

November 7, 2019
Drone registration and pilot testing will be mandatory in the UK
Even though no solid evidence has been presented in regards to drones being involved, incidents at both Gatwick and Heathrow airports, which saw thousands of flights grounded and delayed for days, have inspired the United Kingdom’s Civil Aviation Authority to enforce more regulations. The government agency is requiring all operators over the age of 18 to pass an online pilot’s test and register their unmanned aerial vehicle by November 30th.

This deadline applies to remote pilots flying model aircraft weighing between 250 grams (.55 pounds) and 20 kilograms (about 44 pounds). Exemptions to these mandatory rules have been granted to the following organizations:
- The UK Drone Association (Arpas UK)
- British Model Flying Association
- Scottish Aeromodellers’ Association
- Large Model Association
- FPV UK
Besides registering the drone, owners must obtain their flyer ID which requires taking and passing a theory (pilot) test. Adults and children under 13 can still fly but they must pass the test, and kids must be registered to fly by a parent or guardian. The drone’s main operator must be 18 or older and is responsible for ensuring every person flying their aircraft is both registered and has passed their theory test.

Registration is relatively inexpensive at £9 ($ 12). Similar to U.S. rules, drone owners will be given a unique ID that must be affixed to their drone in a way that’s easily identifiable. Anyone caught flying a drone that is not registered could incur a fine of up to £1000 ($ 1290).

DJI has recently created the Mavic Mini, which weights under 250 grams, to circumvent registration requirements. While operators of these lightweight unmanned aerial vehicles many not need to register with the Federal Aviation Administration, Civil Aviation Authority, or other similar agencies (always check your local laws), remote pilots still need to abide by standard aviation rules or face the consequences if caught.

Articles: Digital Photography Review (dpreview.com)
November 7, 2019
Why Are Wide Angle Lenses so Expensive

If you could’ve taken one more step back, your shot would’ve been perfect. But one more step would’ve sent you plummeting to the bottom of the canyon. You decide it’s time to add a wide angle lens to your collection. But how do you justify the expense? And why are wide angle lenses so expensive anyway? Manufacturers encounter a few Continue Reading

The post Why Are Wide Angle Lenses so Expensive appeared first on Photodoto.

Photodoto

November 7, 2019
HEIF Files: Do They Mean the End of the JPEG Format?

The post HEIF Files: Do They Mean the End of the JPEG Format? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

During a recent meeting about the recently announced Canon 1D X Mark III with Digital Camera World, Canon product intelligence specialist David Parry dropped a bombshell:

“We’ve moved on to HEIF files,” Parry said.

While Canon later walked back the statement, claiming that they “have no plans to abandon JPEGs,” but instead wish to “give users a new image option” in the Canon 1D X Mark III, the comment got plenty of people talking. And the reason is clear: If Canon is adopting HEIF files alongside its JPEGs, might we soon see the company scrap JPEGs entirely? And what about Nikon, Sony, Fujifilm, and Olympus?

In other words, does Canon’s move to HEIF files signal the end of JPEGs?

For photographers who have been using JPEGs for decades, this might come as a shock. While HEIF files have been in the media for the past couple of years, ever since Apple added them to their iOS devices and Macs, no major camera manufacturer has adopted HEIF files – until now.

And while some users may dismiss HEIF files as another overhyped “JPEG killer” which will disappear in a few years, there is reason to believe that HEIF files are here to stay.

To understand why, let’s take a closer look at HEIF files and what they offer over JPEGs.

HEIF files vs JPEGs

The biggest difference between HEIF files and JPEGs is their respective file sizes:

JPEGs are small, but HEIF files are tiny.

In fact, HEIF files are often billed as half the size of JPEGs, but with the same (or better) quality. This means that you can store far more HEIF files on a device than you can JPEGs, without a loss in quality.

How is this possible?

Simply put, compression has improved. JPEG files debuted way back in the 1990s, whereas HEIF is a relatively new image file format. So when it comes to compression, what a JPEG can do, a HEIF file can do better.

And this results in smaller files with limited quality loss.

Compression isn’t the only area where HEIF files shine. HEIF files can also store more color information than JPEGs, which means that your HEIF photos will look better, and can avoid the unpleasant color-banding effects that sometimes come with JPEGs.

And what about compatibility? Surely JPEGs are far more established than HEIF files, given their universal popularity?

Back in 2017, when Apple adopted HEIF files, this was a real discussion. Some applications couldn’t deal with HEIF files, and that was a problem.

But now, two years later…

HEIF files can be used by pretty much any program you’d need. The compatibility issues are gone, and we’re left with a file format that just seems all-around superior to JPEGs.

So while JPEGs are the file format of the present and the past, HEIF files are likely the format of the future.

Now I’d like to know your thoughts:

Do you think HEIF files will replace JPEGs? And how do you feel about this change? Share your thoughts in the comments below! And respond to our poll regarding whether you’re happy about the shift to HEIF files:

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

The post HEIF Files: Do They Mean the End of the JPEG Format? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

November 7, 2019
Prime Lens vs Zoom Lens – Find Out Which is Best Suited to You
The post Prime Lens vs Zoom Lens – Find Out Which is Best Suited to You appeared first on Digital Photography School. It was authored by Simon Bond.

An important discussion in photography circles revolves around which lenses you use. The answer to this question will certainly rest on the type of photographer you are. The needs of a landscape photographer are very different to those of a portrait photographer. In this article, we’ll look at prime lens vs zoom lens, and you’ll be able to decide which is the right setup for you.

It’s possible you’ll go for a mixture of both lens types, or you might keep to just prime or just zoom. Read on and find out the pros and cons of both of these lens types.

This photo was taken using a wide-angle zoom lens. Zooms lens are great for dynamic situations that may require a quick change in focal length.

What type of lenses are there?

There are many lenses on the photography market, it’s not all about zoom lens vs primes lens. The focal length of your lens can also have a defining impact on your photo as well. So in addition to zoom vs prime, you also have 5 subcategories to consider.

The below focal lengths reflect a full-frame camera. For crop-sensor cameras, you’ll need to apply the crop factor to these focal lengths. This crop factor can be between 1.2 to 2, depending on your camera. For example, if your camera has a crop factor of 1.5, then a 17mm full-frame lens is the equivalent of 25mm on the crop sensor (17 x 1.5).
- Super wide-angle – 21mm or less.
- Wide-angle – 21 to 35mm.
- Standard – 35 to 70mm.
- Standard telephoto – 70 to 135mm.
- Telephoto – 135mm and above.
These categories are worth considering. If you choose to mix and match your zoom lens with your prime lens, then perhaps having zoom for the telephoto end of these focal lengths, and prime for the standard and a wide-angle lens is an option. As there is a limit to the number of lenses you’re going to carry if you’re on location, some tough decisions need to be made.

Ideally, you’ll carry two or three lenses with you, in addition to your camera body.

Prime lens are of fixed focal length. Here you can see a 135mm, a 50mm and a 100mm lens. The 100mm is a macro lens.

What’s a prime lens

A prime lens is a lens with a fixed focal length that you can’t change. The most well-known prime lens is the 50mm, it’s probably the first prime lens most photographers will use. So why would you use a lens like this, when you can’t quickly change the focal length? There are several advantages.
- Weight – These lenses are often a lot less heavy than zoom lenses.
- Maximum aperture – With apertures that go down to f1 in some cases, they beat zoom lenses by a long way.
- Composition – Having one focal length can be an advantage for composition, since it forces you to find compositions within the focal length you have available. This process will improve your photography skills.
This photo was taken using the 135mm F2. It’s low light, and the background has been blurred by the high aperture.

When to use a prime lens

Prime lenses are considered best for portrait photography but don’t discount them for landscape photography as well. The 14mm prime lenses can be exceptional when it comes to landscapes. Plus, that large aperture means they’ll outperform their zoom lens counterparts when it comes to niche fields like astrophotography where you want to photograph the milkyway.

So here is a selection of situations you’d choose a prime lens.
- Portrait photography – This works well for both studio and environmental portrait work. You can control where your model stands, and therefore the fixed focal length is less of an issue. The large aperture then allows you to blur out the background for a pleasing photo.
- Street photography – The most well-known street photography lens is the 50mm. That’s because it combines a focal length that similar to what you see with your eye and a nice large aperture for low-light street photography. There are other nice focal lengths for street photography like the 35mm, or even the 135mm.
- Low light – Once it gets dark, you have the option of using a tripod, but what if you’re subject is moving and you want them to be sharp? This is where a fast prime lens will work the best. Think of a night time festival, and the best lens is going to be a prime lens.
- To produce bokeh – While zoom lens can still produce bokeh, especially at f2.8, the best bokeh will be produced with a prime lens using a large aperture.
A zoom lens can have it’s focal length changed. Here you can see a 28-105mm lens and a 70-300mm lens.

What’s a zoom lens?

Okay, next up in the prime lens vs zoom lens debate is, of course, the zoom lens. These lenses have a variable focal length, which in the majority of cases can be manually adjusted.

The ability to quickly change focal lengths can be vital for certain situations that are constantly changing. Think of wedding, event or sports photography. In fact, many landscape and portrait photographers choose zoom lenses because they don’t want to keep changing lens in order to change focal length.

So what’s the drawback to this, and what are the advantages?
- Quick change – The ability to quickly change the focal length to suit the photo that’s suddenly before you can be make or break when it comes to getting the photo.
- Weight – The downside is that zoom lenses weigh more than prime lenses, though to some there is the other argument. You would need multiple primes lenses to cover the focal range a zoom lens offers, and the combined weight of these may well exceed the one zoom lens.
- Aperture – There is no disguising the fact zoom lenses don’t offer as large an aperture. The most expensive zoom lens will go to f2.8, but with that aperture comes even more weight to carry.
A zoom burst photo is something only a zoom lens can achieve.

When would you use a zoom lens?

A zoom lens is a versatile lens that can be used in many situations, owing to its ability to change the focal length.

There are some situations where it’s particularly good though, and you’ll see those listed below. It should be noted that those zoom lenses with an aperture of f2.8, will also work very well for portrait photography – it’s just these lenses are heavy.
- Event photography – Functions or weddings often have photographers recording those events. Having a lens that allows you to change focal length is essential for these.
- Sports photography – Sports photography also needs a lens that can have its focal length changed. It also needs to be fast, so using an f2.8 zoom lens is important here.
- Travel photography – Travel photography is the definition of needing to be a jack of all trades. You need to capture landscapes, food, street, and event-style photos when there is a festival. As you’re traveling, you also have limited space in your bag. A zoom lens with differing focal lengths that’s not too heavy is ideal here, so think of a zoom lens with an aperture of f4.
- Zoom burst – This is a technique that specifically requires a zoom lens. In order to implement this technique, you need to change the focal length of your lens during an exposure.
Prime lens vs zoom lens

So you have a choice between the lighter primes lenses with their large apertures or the more versatile zoom lenses that allow you to change the focal length but are often much heavier to carry.

Which is the correct choice for you?

A lot of photographers will feel f2.8 is a large enough aperture for them and go for three zoom lenses that cover wide-angle, standard, and telephoto focal lengths. However, that’s going to be a very heavy bag to carry. And, add in a tripod, and you might need to make friends with a chiropractor before long.

This photo shows bokeh created using a prime lens.

Which lens goes in your bag?

Primes lens vs zoom lens have their pluses and minuses, but for some photographers, there will be clear winners. Take a look at this list of photographer types, and the lenses typically used by these photographers.
- Wedding photographer – The workhorse lens for you will be the 24-70mm zoom lens with an aperture of f2.8. Those focal lengths will cover almost everything you need to photograph. A wide-angle zoom is also worth carrying. Occasionally there is time for a portrait session during the wedding day, so packing one prime lens for this, perhaps the 85mm f1.4, is a good idea.
- Street photographer – The 50mm f1.8 is a great lens, however, if you have more money, get the f1.4 or f1.2. As an alternative, the 135mm f2 also works very well.
- Travel photographer – A wide-angle zoom for many situations, and because you’re traveling, use an f4 so it’s lighter weight. A decent prime lens like the 50mm, because, like the street photographer, you’ll want to capture those people scenes. Then a telephoto zoom for day’s you’re photographing a festival and you need the extra reach. Or perhaps there is a landscape that needs to be compressed.
- Landscape photographer – A wide-angle lens is a must, however, this could be a zoom or a prime. If you like photographing the Milkyway, you need an aperture of at least f2.8. However, if you get a wide-angle prime lens, you can get even larger apertures, and this will help your astrophotography. There are plenty of landscape photos that need extra reach though, and only work with compression, so getting a telephoto zoom is a great move.
What lens do you like the most?

The debate over prime lens vs zoom lens won’t be settled in this article. It’s too complex for that, and it really depends on what type of photography you do. We’d love to hear your opinions at digital photography school. What type of photographer are you, and what lens preference do you have? As always we’d love you to share your thoughts and photographs in the comments section of this article. Thanks for reading.

The post Prime Lens vs Zoom Lens – Find Out Which is Best Suited to You appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
November 7, 2019
Leica SL2: First sample images from this new 47MP camera

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The Leica SL2 is the brand’s latest full frame mirrorless camera sporting a new 47MP sensor, updated processor, redesigned ergonomics and an upgraded 5.76M-dot OLED viewfinder.

We got our hands on an SL2 prior to launch and we’ve been shooting around downtown Seattle alternating between Leica’s beefy but versatile 24-90mm F2.8-4 and Sigma’s charmingly compact 45mm F2.8. Here are our initial samples.

See our Leica SL2 sample gallery

Articles: Digital Photography Review (dpreview.com)

November 7, 2019
Hands-on: What you need to know about the new Leica SL2

Hands-on with the new Leica SL2

It’s been four years since the launch of the SL – Leica’s first full-frame mirrorless interchangeable lens camera (no, we’re not counting the M9). The new SL2 updates its predecessor in every important way.

We’ve been using one for a little while, and in this article we’ll give you a rundown of the most important features. Click through to learn all about the new Leica SL2.

New 47.3MP full-frame sensor and processor

The SL2 features a new 47MP full-frame sensor, and ‘Maestro III’ processor. One of the SL’s original selling points was a special microlens array, tweaked to deliver optimal image quality when shooting with adapted M-series lenses. The SL2’s sensor follows suit, making it potentially very appealing to M-series shooters looking for a practical mirrorless solution – especially for wide-angle lenses, which can vignette heavily when adapted to other systems.

Leica claims that the new sensor in the SL2 will feature 14 stops of Raw dynamic range. Assuming that performance will be similar to the sensor in the previously-tested Q2, this should mean that the SL2 is highly competitive with its full-frame peers, but around 1EV behind the absolute best of them. We certainly don’t have any complaints after our initial shooting, but we’ll be testing IQ in full once we receive a reviewable camera.

5-Axis in-body stabilization

As well as more pixels and those fancy microlenses, the SL2’s sensor is also mechanically stabilized – a first for the SL line. Leica claims a benefit of up to 5.5 stops (CIPA) which should greatly increase the SL2’s versatility in some shooting situations, particularly in poor light. This is in line with the figures quoted for Panasonic Lumix S1R, which it’s probably safe to assume features both a closely related sensor and suspension stabilization mechanism.

Redesigned body and ergonomics

The SL was a camera that probably looked great in a design program on someone’s computer screen, but which a lot of photographers found rather uncomfortable to shoot with, thanks to its preponderance of bare metal surfaces, its heavy weight and a lot of sharp edges. The SL2 looks enough like its predecessor not to represent a complete departure (and it’s not substantially smaller or lighter) but its an altogether more rounded, more comfortable camera, with a much nicer grip.

Leica has also refreshed the control logic of the SL2, to bring it closer to the Q2 and M10-series. As such, even though Leica has added several new customization options, the SL2 is a simpler camera to pick up and use straight out of the box. With an IP54 certification, it’s somewhat tougher than the original SL, too – at least on paper.

5.76M-dot EVF

Like its close cousin the Panasonic Lumix DC-S1R, the SL2 offers a high-resolution 5.76M-dot OLED viewfinder and a binoculars-style diopter control around the eyepiece. The EVF offers around a 25% linear resolution improvement over the 3.69M-dot panels used by most of its rivals, and in use it’s superb: bright, contrasty and very crisp.

3.2″ rear touchscreen

Another major upgrade compared to the original SL is the rear LCD, which has been increased in size and resolution. With a 3.2″ diagonal and an effective resolution of 2.1MP, the panel is a significant step up in terms of usability compared to the screen on the back of the original SL. Touch-sensitivity has also been improved over the SL, providing a fast and convenient means of adjusting settings during LCD shooting. During EVF shooting, you can quickly change your desired AF point using the small joystick at upper right.

Just like the SL, the SL2’s rear screen is fixed, something which is becoming increasingly rare among full-frame cameras, and which may bother some potential customers (especially videographers).

Twin UHS-II slots

The SL2 has two card slots, both of which support the UHS-II standard. As we’d expect, you can tell the camera to treat the second slot as overflow, backup, or split file types between the cards, recording stills on one and video files on the other.

Multishot mode

Leica has made use of that suspended sensor to add a ‘Multishot’ mode, which combines multiple exposures (up to eight) to create DNG files of up to 187MP. This feature will be added next year via a forthcoming firmware update.

In this picture you can see the small 1.3″, 128 x 128 pixel LCD status panel on the SL2’s top plate, which shows key shooting settings.

Continuous shooting and ‘Leica Object Detection’ AF

We’re not used to saying this about Leica’s cameras, but the SL2 is fast. While it probably won’t give the Sony a9 II or Canon EOS-1D X Mark III a run for their money, the SL2’s maximum continuous shooting rate of 20 fps in electronic shutter mode is very respectable, and 10 fps in mechanical shutter mode isn’t too shabby either. There are a couple of catches though: we’d expect image quality to take a hit in e-shutter mode under certain lighting conditions (specifically under some types of artificial lighting), and focus is locked in both 10 and 20 fps shooting. Autofocus tracking is available at 6 fps.

Leica Object Detection AF appears to be closely related to Panasonic’s face / eye / body-detection, and detects human subjects starting with their body shape, before narrowing down (if it can) to faces and eyes. There are a total of 225 autofocus points, and like previous Leica cameras (and the Panasonic S1-series), AF is contrast-detection.

Video

The Leica SL2 has a very respectable suite of video features, with a headline resolution of 4k/60p, captured from virtually the full width of its sensor. An even higher-resolution 5K/30p mode is available from a cropped region, but we’re still waiting for full details on exactly how much of a crop is employed.

Video can be shot in 8 or 10-bit modes straight to the memory card, or output as a 10-bit stream via the full-sized HDMI port. Three video gamma profiles are available: Rec. 709, L-Log Rec. 2020 and HLG Rec. 2020.

Meanwhile, the SL2 can of course also capture HD video, at up to 180fps. A new ‘Cine mode’ essentially switches the SL2 into fully manual operation (including focus) and translates key exposure settings into video-appropriate language: shutter angle, ASA and T-stop.

Ports, connectivity and battery

Alongside a full-size HDMI port, the SL2 also features a headphone socket and mic jack (both 3.5mm) as well as a USB-C 3.1 port. The SL2 can be charged over USB but cannot be powered solely by it.

Battery life from the included BP-SCL4 is a stated 370 images (CIPA) which is pretty standard for this class of camera (it’s actually a little better than the stated battery life of the Nikon Z7), but as usual we’d expect you’ll get a lot more shots per charge than that in normal shooting.

Pricing and availability

Bluetooth and Wi-Fi connectivity are also built-in and Leica has updated its Fotos app, which also now comes in a ‘Made for iPad’ version. This offers Lightroom integration and extra pro features available for $ 50 per year.

The Leica SL2 will be available in Leica stores and Boutiques starting on November 21st for $ 5,995. Let us know what you think in the comments.

Articles: Digital Photography Review (dpreview.com)

November 7, 2019
Google’s Pixel 4 Astrophotography mode is now available on Pixel 2, 3 and 3a devices

The Google Pixel 4 offers a range of new and innovative camera features. Some of them are, mainly due to hardware requirements, exclusive to the latest Pixel device but Google has promised to make some others available for older Pixel models.

This has now happened in the case of the Pixel 4 Astrophotography mode. The function had previously been made available for older Pixels via a community-driven development effort but it’s now officially supported with older devices in the latest version 7.2 of the Google Camera app. Below are a few sample photos captured with the Astrophotography mode on the Pixel 4:

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Users of the Pixel 2 and Pixel 3 series, including the Pixel 3a, are now able to use the feature after updating to the latest version of the app. The Astrophotography option builds on Google’s Night Sight technology and captures and combines several frames to achieve a clean exposure and great detail as well as limited noise levels when photographing the night sky.

Articles: Digital Photography Review (dpreview.com)

November 7, 2019
Leica announces the HG-SCL6 ‘Multi Function Handgrip’ for its SL2 full-frame camera

To coincide with the release of its SL2 camera system, Leica has also released the Multi Function Handgrip HG-SCL6, a longwinded name for the optional SL2 battery grip.

The HG-SCL6 adds a vertical shutter button, dial controls and a second BP-SCL4 battery that should effectively double the battery life of the camera. The grip on the HG-SCL6 matches the profile of the grip onboard the SL2, which should be a dramatic improvement over the grip found on the SL and its battery grip (HG-SCL4).

The grip is currently available to pre-order (Adorama, B&H) for $ 995.

Articles: Digital Photography Review (dpreview.com)

November 7, 2019