Sidste nyt

MIOPS launches Kickstarter campaign for Flex, its featured-packed smart camera gadget

Sidste nyt fra dpreview - 25 nov 2020 - 20:00

MIOPS, makers of the Smart Trigger and Mobile Remote, is back on Kickstarter with another new product designed to make it easier than ever to capture unique images. The Flex is a 'smart camera gadget' photographers can use to create timelapse videos, capture photos of lightning strikes, breaking glass and more.

Flex attaches to your camera's hot shoe and communicates wirelessly with an accompanying app for iOS and Android. Flex offers many different features and shooting modes, including:

  • Camera control
  • Lightning sensor
  • Sound sensor
  • Laser sensor
  • HDR bracketing
  • Geotagging
  • Live view framing
  • Holy Grail (day to night) timelapse
  • Basic timelapse
  • Long exposure timelapse
  • HDR timelapse
  • Time warper
  • Stormlapse
  • Cable release
  • Press and hold
  • Press and lock
  • Timed release
  • Self timer
  • Timed release with self-timer

As you can see, timelapse is an important aspect of Flex's feature set. As MIOPS says, 'Flex is one of the most powerful devices for making timelapse videos.' A large part of what makes Flex such a promising tool for timelapse creation is that the application shows you a live preview of your timelapse video during the shooting process. When capturing a timelapse in changing conditions, Flex can automatically change your camera's settings as well, allowing you to capture a 'holy-grail timelapse,' which is a timelapse with smooth day-to-night and night-to-day transitions. It's a notoriously difficult type of timelapse to create.

Flex includes many timelapse features, including a live preview function on the Flex app. Image credit: MIOPS

For high-speed photography, such as capturing lightning strikes or capturing the perfect moment of action, Flex incorporates numerous helpful features. When photographing lightning, Flex automatically captures photos as soon as its sensor detects lightning. For photographing something such as a popping balloon, breaking glass, or a falling object, Flex includes a sound-activated shooting mode and it has a laser sensor that can be tripped to trigger image capture.

When using Flex, you can remotely control your camera, including adjusting settings and capturing images. Image credit: MIOPS

Flex includes new features for more traditional photography applications as well. From the Flex app, you can remotely adjust your camera's settings and capture images. MIOPS says, 'Go ahead – put your camera in hard-to-reach places to get that amazing angle.' With customizable shutter speed control, Flex can also be used to capture very long exposure images, beyond what your camera can capture on its own. Further, you can see what your camera sees via live view from your smartphone.

Flex attaches to your camera's hot shoe and is compatible with many cameras from Canon, Nikon, Sony and Fujifilm. Image credit: MIOPS

Flex is compatible with cameras from Canon, Nikon, Sony and Fujifilm, including both DSLR and mirrorless cameras from Canon, Nikon and Sony. For the full list of compatible cameras, click here.

Flex has already eclipsed its $50,000 goal with 43 days to go in the Kickstarter campaign. MIOPS expects to ship Flex to backers in June 2021. The Flex is available for $199 USD with the 'Super Early Bird' backer option, a $100 savings compared to the expected MSRP. For full details of the Flex and the various backer options, head to the Flex Kickstarter page. To learn more about MIOPS and its other products, click here.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Kategorier: Sidste nyt

Our favorite gear, rewarded: DPReview Awards 2020

Sidste nyt fra dpreview - 25 nov 2020 - 16:00
DPReview Awards 2020

How is it nearly the end of the year already? Not that any of us are keen for 2020 to last much longer. To say the least, this has been a strange and difficult few months for people all over the globe, and one that we can't wait to put behind us. The photo industry (like most industries) was impacted by the COVID-19 epidemic this year, but a lot of great products were released nevertheless, even if launch schedules were a little more erratic (and access to samples a lot more disrupted) than normal.

At the end of every year we get together as a team to recognize the standout products of the past 12 months in our annual DPReview Awards. Normally we do that in a room, but hey – contentious multi-participant discussions about which products a bunch of very opinionated professional reviewers like best are what video calls were invented for!

Without further ado, take a look through this article to find out which products made our list of the best gear of 2020.

Best accessory Shortlist:
  • Apple iPad Air (2020 version)
  • DJI Mavic Air 2
  • DJI Pocket 2
  • GoPro HERO9 Black
Runner up: GoPro HERO9 Black

'Go big or come home,' is a phrase we can only assume is often spoken (or shouted?) at GoPro HQ. And with the new flagship HERO9 Black, GoPro really did go big.

The HERO9 Black offers up to 5K/30p or 4K/60p video from a new 23.6MP sensor; the former gives room to crop-in in post, assuming you're outputting in 4K. It also features GoPro's impressive HyperSmooth 3.0 video stabilization, which is easily the best in the action camera class.

Still images are captured at 20MP, up from 12MP on the HERO8 Black. And a new accessory wide angle attachment (sold separately) adds increased versatility to the unit. Long gone are days of confusing button combinations: The HERO9 Black offers a rear touchscreen as well as a front-facing 'live' screen. It's also waterproof, without the need for a case and provides 30% improved battery life over its predecessor. That's good enough to make it our runner-up for best accessory of the year.

Read more about the GoPro Hero9 Black

Winner: DJI Mavic Air 2

The DJI Mavic series has likely done more to popularize drone photography than any other product, but in 2020 DJI really hit the sweet spot with the Mavic Air 2. It's a true Goldilocks product that's not too little or too much – it's just right. In our review we called it 'The best all-round drone for most people'.

While not the smallest drone on the market, the Mavic Air 2 still fits in the palm of your hand. Despite its compact size, it features a camera with a 1/2" CMOS sensor to deliver better image quality than models with smartphone-style sensors. It captures impressive 4K/60p video and photos in JPEG or Raw, includes HDR and panorama modes, and packs useful features like an obstacle avoidance system and impressive subject tracking. Most important, it's fun to fly and makes it easy to capture great photos and videos, earning it our photo accessory of the year award.

Read more about the DJI Mavic Air 2

Best smartphone camera Shortlist:
  • Apple iPhone 12 Pro Max
  • Google Pixel 5
  • Huawei Mate 40 Pro
  • Samsung Galaxy S20 Ultra 5G
Runner up: Samsung Galaxy S20 Ultra 5G

Sitting at the top of Samsung’s Galaxy S20 lineup, the Ultra earns its name in multiple respects, starting with its massive 6.9” OLED screen. But what stands out most to us is its impressive camera hardware. It offers a large 1/1.33" 108MP sensor in its main camera module, complemented by a 12MP ultrawide and depth-sensing time-of-flight sensors. An additional 48MP telephoto camera features a 103mm periscope configuration with an f/3.5 aperture, making it a native 4x optical zoom. A 10x “hybrid optic zoom” mode is offered that combines data from both the 108MP wide and 48 MP telephoto modules, and you can go up to 30x with some software upscaling wizardry. All but the ultrawide module offer phase-detect autofocus.

This phone was announced in February of this year and at the end of 2020 it’s still unrivaled in terms of raw camera specs. It's large main sensor, 8K video, and its Nonacell and Tetracell technologies in the main and tele- modules that allow for higher quality images in low light thanks to hardware binning, to name a few.

In recent history, smartphone camera advancements have largely come from more sophisticated software. To be sure, the S20 Ultra has plenty of software tricks up its sleeves, but Samsung also went big on hardware in this device. For this unique combination of cutting-edge software and hardware, it earns our Best Smartphone runner up.

Read more about the Samsung Galaxy S20 Ultra

Winner: Apple iPhone 12 Pro Max

Apple reserved its most impressive imaging specifications for the iPhone 12 Pro lineup, with telephoto lenses, LiDAR scanners that enable night portrait mode images, and up to 4K/60p Dolby Vision video. In fact, iPhone 12 phones are the only devices in existence that allow you to capture, edit and display video in the 10-bit Dolby Vision HDR format all on the smartphone itself.

But the iPhone 12 Pro Max takes things a step further, introducing a 47% larger sensor with bigger pixels to the device’s main camera, which in conjunction with the F1.6 main lens aperture allows the Pro Max to capture nearly twice as much light as the previous generation phones. Sensor-shift stabilization has also been added to the main camera for the first time in an iPhone, allowing for better night mode photographs.

While this may not sound like a big deal considering the 1/1.33" sensors we've seen in competitors, it's the total package that makes the 12 Pro Max our winner. It's the only smartphone not just capturing but displaying HDR in both stills and video, in more hands than ever before. Yet also doing so also with a large sensor, sensor-shift stabilization and the image processing many have come to know and love of Apple. And seeing HDR photos and videos is believing – it’s one of the next big steps forward in image capture and display, and the 12 Pro Max is going to turn a lot of people into believers. Especially if you set your screen brightness to max!

Read more about Apple iPhone 12 Pro Max

Best zoom lens Shortlist:
  • Nikon Nikkor Z 14-24mm F2.8 S
  • Nikon Nikkor Z 70-200mm F2.8 VR S
  • Olympus 150-400mm F4.5 TC1.25x
  • Sony 12-24mm F2.8 GM
Runner-up: Nikon Nikkor Z 14-24mm F2.8 S

The third and final member of Nikon's Z-mount 'Holy Trinity' is an impressive lens - the Z 14-24mm F2.8 S. This one had a hard act to follow, vying to replace the very well-liked AF-S 14-24mm F2.8 in the kitbags of Nikon mirrorless upgraders.

Instead of simply adapting and re-housing the older optical design for the new Z-mount, Nikon's engineers went back to the drawing board, creating a fast wideangle zoom that manages to be smaller, lighter and more practical than its F-mount predecessor, without sacrificing optical quality and, actually, improving on it. This is a wonderfully sharp lens, and very practical too, weighing in at less than 1.5 lbs, with the option of screw-in filter compatibility via an included hood adapter. This is a lens which – like one of its main competitors this year, Sony's FE 12-24mm F2.8 GM – really shows what optical designers can do with a short flange-back distance.

Read more about the Nikkor Z 14-24mm F2.8 S

Joint-winner: Nikon Nikkor Z 70-200mm F2.8 VR S

A good 70-200mm F2.8 equivalent seems to be essential in any system which wants to be taken seriously. Nikon announced the Z 70-200mm F2.8 VR S way back in January (which feels like years ago) but disruption caused by the COVID-19 pandemic has meant that even now, it's hard to get hold of.

Assuming you're lucky enough to get your hands on one, you'll find a lot to like about the Z 70-200mm F2.8 VR S. Perhaps the sharpest of the current (all very sharp) range of similar lenses for competitive mirrorless systems, this powerful telezoom features a very good minimum focus distance, excellent customization, and the ability to accept teleconverters. While it doesn't have quite the same magic bokeh as the AF-S Nikkor 70-200mm F2.8E FL ED VR, the cross-frame sharpness and flare-resistance of this native mirrorless lens is superb, making it a very capable companion for users of Nikon's Z-mount, and the joint-winner in this year's DPReview Awards for best zoom lens.

Read more about the Nikkor Z 70-200mm F2.8 VR S

Joint-winner: Sony 12-24mm F2.8 GM

In the end we couldn't choose between the Nikon Z 70-200mm F2.8 VR S and this one. The Sony 12-24mm F2.8 GM is a very different kind of lens, but equally excellent in its way. Aimed at landscape and astrophotographers alike, it’s a lens that can replace a handful of primes thanks to its optical performance. It’s tack sharp wide open, and three extreme aspherical (XA), two Super ED and three ED (extra low dispersion) elements help the lens achieve little to no lateral or longitudinal chromatic aberration. Stars and city lights are faithfully rendered thanks to minimal coma, and the precision of XA element grinding ensures smooth bokeh with no onion-rings.

The Sony 12-24mm F2.8 GM is impressively lightweight at 847g, only 6.5% heavier than the compact Sigma 14-24mm F2.8 DG DN Art lens. It accepts rear-mount gel filters, and is fast to focus thanks to four extreme dynamic (XD) linear motors that allow it to keep up with the 20 fps frame rate of the Sony a9 cameras. A newer Nano anti-reflective coating allows for lower flare and ghosting. Video shooters will be pleased by the linear focus response, lack of focus breathing, focus shift, and axial shift while zooming.

Read more about the Sony 12-24mm F2.8 GM

Best prime lens Shortlist:
  • Nikon Z 20mm F1.8 S
  • Sigma 105mm F2.8 DG DN Macro
  • Sigma 85mm F1.4 DG DN Art
  • Sony FE 20mm F1.8G
Runner-up: Sigma 105mm F2.8 DG DN Macro

Another in a line of excellent 'DN' (Digital Native) lenses from Sigma, the 105mm F2.8 was designed specifically for full-frame mirrorless cameras, and delivers excellent results on the latest Sony E-mount and Panasonic/Leica/Sigma L-mount bodies.

Medium-telephoto macro lenses like this one are excellent for closeup work of smaller animals and plants, where you want to be able to maintain a reasonable camera-subject distance. They're also handy as portrait lenses, where the longer focal length and sharpness wide-open help compensate for the relatively slow maximum aperture compared to a conventional portrait prime. As one of (still) very few native macro options for full-frame mirrorless shooters, the Sigma 105mm F2.8 DG DN Macro earns its runner-up spot in this year's DPReview Award for best prime lens.

Read more about the Sigma 105mm F2.8 DG DN Macro

Winner: Sony FE 20mm F1.8G

The Sony 20mm F1.8G takes the top spot in our awards for prime lens of the year thanks to the fact that it's nearly optically flawless. It’s sharp enough wide open to pair with the high-resolution 60MP a7R IV, with nearly no lateral or longitudinal chromatic aberration to speak of - particularly impressive for a lens of this type. Bokeh is smooth with no onion rings or bright edges. Nine aperture blades ensure smooth out-of-focus highlights even as you stop down, and for astrophotographers, there’s minimal sagittal flare or coma.

Autofocus is extremely speedy thanks to XD (extreme dynamic) linear focus actuators. Distortion and vignetting are also well-controlled and easily fixed in post-processing. The only flaw we can find really is a tendency to flare and ghost, but that’s excusable for a lens of this type and considering its lack of other optical aberrations.

As the most well-corrected lenses of this type that we’ve ever seen, the Sony 20mm F1.8G easily wins our prime lens of the year.

Read more about the Sony FE 20mm F1.8G

Best compact/fixed lens camera Shortlist:
  • Fujifilm X100V
  • Nikon Coolpix P950
  • Sony ZV1
  • Zeiss ZX1
Runner-up: Nikon Coolpix P950

In a year with few highlights, testing the Nikon Coolpix P950 was definitely among them. Maybe the perfect camera for shooting during quarantine, if you can't find some interesting photographic perspectives with a 24-2000mm zoom range, it's time to find another hobby.

It's all too easy to sneer at 'big lens, small sensor' cameras like this, but do so at your peril. The Coolpix P900 sold like hotcakes, and the P950 is a better camera, and nicer to use, too (thanks to Raw mode and a better EVF, respectively). If you respect its limits, the P950 will reward you with images that would be near-impossible to get with any other comparably-priced setup. A good camera removes obstacles to creativity, and for that reason the Nikon Coolpix P950 earns its runner-up spot in our category for compact / fixed-lens camera this year.

Read more about the Nikon Coolpix P950

Winner: Fujifilm X100V

And the Nikon Coolpix P950 would probably have won outright, were it not for this pesky kid. The Fujifilm X100V is the fifth camera in the company's perennially-popular X100 range, and brings far more substantial changes compared to previous iterations. Featuring a new 26MP BSI-CMOS sensor, flip-out, touch-sensitive rear-screen and redesigned lens, the X100V is a significantly better camera than its forebears.

We've always loved the X100-series, and it was very good to see Fujifilm's engineers really grasp the nettle this year and make some bolder updates to the concept. And while some photographers might still consider the X100V's fixed 35mm equivalent lens to be limiting, it's worth noting that the redesigned lens makes the company's wide and tele-converters perform a lot better than they did on some previous X100-series models. For everyday photography the X100V is a reliable and enjoyable companion, and as such it takes the top spot in our 2020 DPReview Award for best compact/fixed-lens camera.

Read more about the Fujifilm X100V

Best stills / video camera Shortlist:
  • Canon EOS R6
  • Fujifilm X-T4
  • Panasonic Lumix DC-S5
  • Sony a7S III
Runner up: Canon EOS R6

The EOS R6 risks being overshadowed by the 8K-capable R5 (and the initial concerns about how it recovers from overheating), but its a hugely capable stills / video camera.

The ability to record in 10-bit, either as Log or PQ HDR footage, is impressive, as is the option to shoot 4K/60p, but its appeal goes beyond that. Its stabilization is excellent, its autofocus is reliable and the video and stills settings are kept separate to a good degree, making it easy to switch back and forth. A firmware update that improves recovery times means it's primarily its rolling shutter that counts against it. But even with this taken into account, there are few cameras at the price that make it easier to shoot genuinely excellent video.

Read more about the Canon EOS R6

Winner: Sony a7S III

Instead of chasing headline specs, Sony told us its priorities for the a7S III centered around reliability. In that spirit, it stuck with a 12MP sensor to capture native 4K, but its an all-new BSI sensor with dual gain architecture and fast rolling shutter performance. As a result, the camera can capture 4K/60p using the full width of its sensor, and up to 4K/120p with a slight (1.1x) crop, all in 4:2:2 10-bit color.

The a7S III also benefits from updated codecs, including a new All-I 'intra-frame' option, 16-bit Raw video output over HDMI, and dual-twin card slots that support both SD and CFexpress Type A. It's also the first a7-series camera to feature a fully articulating screen in addition to Sony's class-leading AF system, and it can record 4-channel audio with a new XLR adapter. the a7S III's biggest drawback is that it's stuck at 12MP for stills. Native 4K may result in slightly less detail than the oversampled video found on competitors, but it's still the most impressive stills/video hybrid we've seen this year unless you really need more than 4K resolution.

Read more about the Sony a7S III

Best entry-level ILC Shortlist:
  • Canon EOS Rebel T8i
  • Fujifilm X-S10
  • Fujifilm X-T200
  • Olympus OM-D E-M10 IV
Runner-up: Olympus OM-D E-M10 IV

The Olympus OM-D E-M10 IV is one of the dark horses of the current photography market. Introduced this year without much fanfare, on the surface the E-M10 IV might look like an iterative update to the venerable E-M10-series, and in some ways of course it is. But iteration is good! With the Mark IV, Olympus has created arguably its most competitive consumer ILC yet.

With a 20MP Micro Four Thirds sensor (an upgrade from the rather long-in-the-tooth 16MP sensor used in the last generation) and built-in IBIS effective for ~4.5EV, the OM-D E-M10 IV is a more powerful tool than its predecessors. It's fairly fast (max shooting with AF is possible up to 4.5fps) and offers a decent electronic viewfinder, a flip-down touchscreen on the back, and 4K video. While its menu system and GUI can be overwhelming at first, the amount of features and technology that Olympus has packed into the E-M10 IV make it an excellent option for a keen beginner.

Read more about the Olympus

Winner: Fujifilm X-S10

The Fujifilm X-S10 is one of our favorite cameras of the year (spoiler alert). It uses the same sensor, processor and AF system as the flagship X-T4, and is only the third Fujifilm X-series camera to offer built-in stabilization, using a newly-developed compact IBIS mechanism. Meanwhile the deep handgrip recalls the popular X-H1.

Far from being a 'parts bin' camera, the X-S10 brings something genuinely new to Fujifilm's lineup, offering a more conventional (less dial-driven) interface with a PASM exposure mode control which will be familiar to anyone who has used an entry-level camera from another manufacturer. Its performance, both in terms of autofocus and speed, is excellent, as is image quality in stills and video modes. While just on the cusp of 'midrange' considering its price, if you have the money, the Fujifilm X-S10 is one of the best entry-level ILCs on the market, and takes first place this year in our DPReview Awards.

Read more about the Fujifilm X-S10

Best midrange ILC Shortlist:
  • Canon EOS R6
  • Fujifilm X-T4
  • Nikon Z5
  • Nikon Z6 II
Runner-up: Fujifilm X-T4

Fujifilm's flagship APS-C format camera, the X-T4 is a model that we find ourselves recommending to friends and family quite often. There was apparently some debate within Fujifilm about whether to call this the 'X-T3S' but it was decided that enough had been changed to justify an entirely new model name.

We tend to agree. While the X-T4 looks a lot like the X-T3 (and the X-T2... and the X-T1...) it's a better and more competitive camera. Now featuring a powerful in-body stabilization system (effective up to an impressive ~6.5EV) and 4K/60p video, the X-T4 is a highly versatile tool. We've seen the 26MP BSI-CMOS sensor before in the X-T3 and X100V, but it's still among the best (if not the best) of its type on the market. Pound for pound and dollar-for-dollar, the Fujifilm X-T4 offers fantastic value, and it's a lot of fun to shoot with, too.

Read more about the Fujifilm X-T4

Winner: Canon EOS R6

Now that full-frame mirrorless cameras have joined APS-C models in all market segments, it's harder than ever to divide products up into categories. As you'd expect, the full-frame Canon EOS R6 costs a lot more than the APS-C Fujifilm X-T4, but it's aimed at essentially the same kind of customers: advanced amateurs and enthusiast photographers, and perhaps professional photographers looking for a second, video-capable body.

It's hard to imagine a camera better suited to this constituency of users than the Canon EOS R6. It's fast, powerful and offers excellent autofocus. It's a great stills camera, which produces very nice JPEGs and offers good (while not class-leading) dynamic range in Raw mode. The R6 also provides one of the sharpest and most responsive electronic viewfinders on the market, and offers an impressive video feature-set, in addition to stills. As a 'do everything' camera for enthusiast photographers the Canon EOS R6 is very hard to beat and is likely to remain competitive for a long time. As such, it's a worthy winner of our 2020 DPReview Award for best midrange ILC.

Read more about Canon's EOS R6

Best high-end ILC Shortlist:
  • Canon EOS R5
  • Canon EOS-1D X Mark III
  • Nikon D6
  • Nikon Z7 II
Runner-up: Canon EOS-1D X Mark III

Announced in early January this year, the Canon EOS-1D X Mark III was meant to be Canon's 'Olympics' camera, for the games originally planned in Tokyo this summer. We all know how well that worked out of course, but sports isn't the only thing that the EOS-1D X Mark III is good for. Despite being a 'Mark' update, the Mark III brings a lot of new and impressive technology to Canon's pro market segment. Blazing speed and extreme durability are a given, but in the Mark III, Canon created the nearest thing to a true 'hybrid' camera we've seen to date.

In DSLR mode the EOS-1D X Mark III is a conventional pro camera, albeit an extremely good one. But with the mirror locked up in live view mode, it offers many of the advantages of a high-end mirrorless ILC. These include near full-frame autofocus coverage, sophisticated AF tracking courtesy of an advanced Dual-pixel CMOS autofocus system and silent shooting with a maximum frame-rate of 20fps. Oh, and up to 5.5K/60p Raw video. The vast majority of photographers won't need many of this camera's features, but for those that do, the EOS-1D X Mark III is up there with the best of the pro bodies currently available.

Read more about the Canon EOS-1D X Mark III

Winner: Canon EOS R5

The R5 is a more costly and pro-focused camera than the R6, and at the time of its announcement, the big news was its unique ability (among cameras of this type) to shoot 8K video. Arguably, though, 8K video is the least of the reasons to be interested in the EOS R5. Much more useful to most photographers is its excellent resolution, highly effective autofocus system (closing the gap substantially with Sony's best-in-class implementation in the a9/II) and photographer-friendly ergonomics. As a stills and video tool for serious professional photography, the EOS R5 has a lot to offer, even if overheating concerns did take the shine off some of its headline video features (something which, to Canon's credit, has been improved via firmware since its release).

It seems strange to talk about any company having 'a good year' given the unmitigated chaos of 2020, but for Canon it's actually kind of true. Alongside the EOS-1D X Mark III and several excellent lenses, this was this year that Canon made its most convincing entry into serious full-frame mirrorless imaging with the winner of our 2020 DPReview Award for best high-end ILC – the EOS R5.

Read more about the Canon EOS R5

DPReview innovation award Shortlist:
  • Canon EOS R5
  • Canon RF 600 & 800mm F11 IS STM
  • DJI Mavic Air 2
  • iPhone 12 Lineup
Runner-up: Canon RF 600/800mm F11 IS STM

While neither of these lenses will challenge more conventional, brighter-aperture telephoto primes for ultimate image quality, they're unique in that they bring true, practical telephoto shooting into range for amateur and enthusiast photographers. Considering their reach, both lenses are relatively small and lightweight, and while F11 can be limiting, autofocus support (including even using the RF 2X converter on the EOS R5 and R6) and built-in image stabilization make them surprisingly versatile.

We've seen collapsing mechanisms in lenses before, and we've seen diffractive optics used to reduce the weight and complexity of telephoto lens designs. It's the combination of the two technologies which makes the Canon RF 600mm and 800mm F11 IS STM so innovative, and so special.

Read more about the Canon RF 600mm and 800mm F11 IS STM

Winner: iPhone 12 Lineup

This year we’re awarding the entire Apple iPhone 12 lineup for our Innovation of the Year award, because it brings HDR to the masses. No, not the overly tone-mapped, flat HDR you’re thinking of. We're talking about high dynamic range (HDR) display of both images and video. Like the previous two generations of iPhones, the iPhone 12 captures a wide dynamic range and tonemaps this large range into the final image. Under SDR viewing conditions (like your web browser) this can lead to high dynamic range images appearing somewhat flat. However, these very images viewed directly on iPhones with OLED displays appear quite the opposite of flat, with very bright brights (skies, clouds, lights) and dark shadows, thanks to HDR playback. HDR playback (like Dolby Vision/HDR10/HLG for video) tries to preserve the contrast between brights and darks to produce more realistic results, so that sunlit grass actually looks radiant compared to grass in the shadows, for example.

This year, down to its cheapest iPhone 12 Mini, Apple has included an HDR OLED display and Dolby Vision video. Apple has been displaying HDR stills since the iPhone X, but this is the first time it’s doing so across its entire lineup, and for video as well with Dolby Vision, a format that optimizes scene dynamic range on a frame-by-frame basis. Add to that the wide P3 color space used for both stills and video, and you have some of the nicest looking imagery from any device. Not to mention one you can carry in your pocket.

Read more about the Apple iPhone 12 line

DPReview product of the year 2020 Shortlist:
  • Canon EOS R6
  • Fujifilm X100V
  • Fujifilm X-S10
  • Sony 12-24mm F2.8 GM
Runner-up: Fujifilm X-S10

The Fujifilm X-S10 might not bring much to the X-series lineup that's genuinely 'new', but the way that its various features are packaged is extremely impressive – and very appealing. Built around a newly-designed compact IBIS system, the X-S10 breaks with Fujifilm's traditional 'traditional' control layout, offering a slightly more streamlined experience, more in line with competitive models.

These tweaks - plus a large, comfortable grip and a very attractive stills and video feature-set – make the X-S10 a seriously compelling camera for its price. The competition for our 'Product of the Year' award is always very tough, but the Fujifilm X-S10 beats out stiff competition to take the runner-up spot thanks to its uncommonly attractive suite of features, coupled with a great handling experience that make it a pleasure to shoot with.

Read more about the Fujifilm X-S10

Winner: Canon EOS R6

The Canon EOS R6 is one of relatively few cameras we've seen over the years which can genuinely be described as 'multi-purpose'. While not class-leading in terms of resolution, 20MP is enough for most applications, especially when paired with such a powerful autofocus system, which rivals or outclasses the best of the R6's competition at this price-point.

Designed as a 'do-everything' camera for both stills and occasional video shooters, the R6 offers a suite of advanced features in both modes. But arguably none of this would matter so much if it weren't such a nice camera to use. The Canon EOS R6 is one of the most photographer (and videographer)-friendly cameras of its type, with performance that means it's equally comfortable shooting sports and wildlife as it is covering weddings and events. It's this combination of features, performance and excellent handling which make the Canon EOS R6 such a compelling camera, and the winner of this year's DPReview Award for product of the year.

Read more about the Canon EOS R6

Kategorier: Sidste nyt

Fujifilm adds a 400MP capture mode to its GFX 100 camera with 3.00 firmware update

Sidste nyt fra dpreview - 25 nov 2020 - 15:35

Fujifilm has announced a firmware update for its GFX 100 camera that adds Pixel Shift and Multi-Shot functions to its flagship camera, which work alongside Fujifilm’s new Pixel Shift Combiner software to stitch together up to 16 Raw photographs into a single 400MP Raw image.

The new 400MP image capture mode in firmware version 3.00 combines the capabilities of the GFX 100’s 102MP sensor, its in-body image stabilization and the X Processor 4 inside. To achieve this level of resolution, the GFX 100 will first capture a the base shot, before shifting the sensor one pixel left, right and down for a total of four images. The camera will then repeat this process with each of these four images for a total of 16 Raw photographs.

This method ensures each pixel records image data in red, green and blue, which helps to increase color reproduction accuracy with minimal false color. To get the final result, users will need to rely on Fujifilm’s new Pixel Shift Combiner software, which will automatically stitch all 16 Raw images together to create a single 400MP Raw image (DNG), which can then be edited in the program of your choosing. This is a similar approach to Sony's Pixel Shift Muilti-Shooting mode, which requires external software as well.

The high color accuracy and resolution make this an obvious choice for digital archiving and art preservation, but also for commercial photographers who need resolution and accuracy, as showcased with this image of the one-off Koenigsegg Agera RS ‘Draken’ from Dan Kang:

This first image is the standard image as captured by the GFX 100:

The full-resolution version of this image came in at 51.5MB

This second image is a 100% crop of a photo captured with the new 400MP Pixel Shift Multi-Shot mode:

The full-resolution version of this image came in at 204.9MB

Firmware version 3.00 for the Fujifilm GFX 100 also addresses a few smaller changes. Now, when rating images captured in the [JPEG + Raw] mode, both the JPEG and Raw file will keep the rating. Fujifilm has also fixed an issue that caused its EF-X500 to incorrectly fire other flash groups when using it as a commander in multi-flash scenarios. Eye AF performance has also been improved and a number of smaller bugs have been addressed as well.

You can download firmware version 3.00 for the GFX 100 as well as the new Pixel Shift Combiner program (macOS and Windows) on Fujifilm’s website.

Image credit: Photographs used with permission from Koenigsegg and Dan Kang.

Kategorier: Sidste nyt

The Panasonic S1H and GH5 are the best cameras for videographers

Sidste nyt fra dpreview - 25 nov 2020 - 14:00

You don't need to spend a fortune to buy a camera that's designed for videography. We took a look at the field and selected the Panasonic S1H and GH5 as the best cameras for serious videographers.

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Fujifilm Introduces FUJIFILM GFX100 IR for 100MP infrared imaging

Sidste nyt fra dpreview - 25 nov 2020 - 06:54
Image shows standard Fujifilm GFX100

Fujifilm has announced a special version of its 100MP GX100, for infrared imaging. Photography is possible at up to 400MP, courtesy of a new 'Pixel Shift Combiner' feature The new camera will be available for special order in early 2021.

Press release:

Fujifilm Introduces FUJIFILM GFX100 IR (Infrared) Large Format Mirrorless Digital Camera

Valhalla, N.Y., November 25, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of FUJIFILM GFX100 IR digital camera (GFX100 IR), a uniquely specialized version of its GFX100 large format mirrorless digital camera, now with infrared image-making capabilities, which can be produced upon order for professionals in forensic, scientific, and cultural preservation fields. Infrared images can now be made at 100MP - and even at 400MP through GFX100 IR’s new Pixel Shift Multi-Shot function - to reveal intricate details within a subject or scene that can only normally be seen through the infrared spectrum.

GFX100 IR also includes the ability to:

Make images in the infrared spectrum at an incredible 100MP or 400MP of resolution

Images made of a subject within the infrared spectrum can reveal details that a regular (non-IR) digital camera or the naked eye cannot see. For example, in the field of forensics, this can be an important tool in helping to identify counterfeit documents. For individuals working in cultural preservation, GFX100 IR can be used to analyze pigments in works of art and historical artifacts, even if they have degraded over time. Using the Pixel Shift Multi-Shot feature on GFX100 IR can create 400MP images with incredible detail and little-to-no color fringing.

“Using GFX100 IR with the Pixel Shift Multi-Shot feature is invaluable for cultural research because reviewing images in infrared could lead to unlocking the secrets of some of history's most treasured artifacts,” said Victor Ha, senior director of marketing and product development for FUJIFILM North America Corporation. “It can also be an incredibly powerful tool for researchers using the images to evaluate works of art or pieces of evidence.”

Use special filters to make images within specific wavelengths

Different IR filters in front of the camera lens can be used to make images at various wavelengths, which can reveal different details within a subject. However, using the appropriate IR cut filter will allow GFX100 IR to be used normally (i.e. in the same manner as the standard FUJIFILM GFX100 digital camera) to make regular, color images within the visible spectrum.

Additionally, when the camera is set in a fixed position and paired with Capture One or a similarly compatible software application to engage tethered capture functionality, users can create images with the same angle of view. This enables them to maintain a simple capture to output workflow for maximum efficiency.


GFX100 IR is designed for forensic, scientific, and cultural preservation applications, and the product will not be made available to general photographers or customers for personal use. GFX100 IR will only be offered by specific, Fujifilm authorized retailers, and sales of GFX100 IR will be subject to a GFX100 IR User Agreement, which sets out the specific terms of use for the camera. GFX100 IR is currently expected to be available in the first quarter of 2021.

Kategorier: Sidste nyt

Sigma to release a new 'DN' lens for mirrorless camera systems via livestream on December 1

Sidste nyt fra dpreview - 24 nov 2020 - 22:45

Sigma has announced it will be showing off a new Digital Neo (DN) lens on December 1 during its ‘Sigma Stage Online’ livestream.

No further information has been shared about what kind of lens we can expect, but with the livestream just a week out, we won’t have to wait long. The livestream will take place at 7am ET (4am PT) using the below video:

You can subscribe to Sigma’s Youtube channel to keep up to date with the latest news and click the ‘Set reminder’ button on the above video to receive a push notification before the livestream starts.

Kategorier: Sidste nyt

Video: 'One Shot' shows what it takes to capture an iconic image at the Olympic games

Sidste nyt fra dpreview - 24 nov 2020 - 22:30

A thread on Reddit has brought a neat photography documentary from 2017 to our attention. 'One Shot: Photographing the Olympic Games' is a behind the scenes look at how photographers capture the iconic images of the Olympics, including a special focus on photographers setting up to capture the 100m men's final in Rio de Janeiro during the 2016 summer games.

Featured photographers include multi-awarded photographers such as Lucy Nicholson, Dave Burnett, Bob Martin, Tim de Waele, and Tsuyoshi Matsumoto. Nicholson had a very specific image in mind for the 100m men's final in Rio. As she sets up her gear, nine hours ahead of the starting gun kicking off what is one of the most exciting 10 seconds in sports, Nicholson talks about how she wants a tight shot of the winner with other sprinters on either side of the winner. 'You only get one chance to take the key shot,' Nicholson says.

A chart showing Sports Illustrated's plans for photographing the 100m men's final in Rio. Click to enlarge.

The documentary, seen below, was awarded the Candido Cannavo Award at the World Final of the Milan Sport Film Festival in 2018. About 150 iconic images from nearly 100 different photographers over the last 50 years of Olympic games are featured. An iconic image tells a story for years to come. Long after the medals have been awarded to the victors, and even long after the photographer has passed, the images and the stories they tell remain. Presenter Jonathan Edwards, Olympic gold medalist triple jumper, says it well, 'A story that's taken a lifetime to create, told in one shot. One freeze frame.'

Years of planning are required to create iconic images, and in under a minute, an iconic photo can be sent halfway around the globe. The technology on display in 2016 during the summer games was incredible. Reuters was able to get the first photo of Usain Bolt winning the 100m men's final out to its customers in 58 seconds. It's safe to assume that the technology will have advanced even further when photographers head to Tokyo in 2021. And while the equipment and tools photographers use continue to evolve, photography's importance when telling a story remains unchanged.

'One Shot' was directed and written by Peter Davies and presented by Jonathan Edwards. As pointed out by PetaPixel, the documentary can also be viewed on the Olympic Channel. It's hosted on YouTube by Anthony Edgar, the Head of Media Operations for the International Olympic Committee. Edgar also appears in the video. His channel, linked above, includes a lot of interesting Olympics-related video content.

Kategorier: Sidste nyt

MonsterAdapter's new LA-KE1 adapter brings autofocus, aperture control to Pentax K-mount lenses on Sony E-mount cameras

Sidste nyt fra dpreview - 24 nov 2020 - 18:47

MonsterAdapter, a relatively new player in the lens adapter game, has revealed the details of the LA-KE1, a new adapter that will make it possible to mount Pentax K-mount glass to Sony E-mount mirrorless camera systems.

There isn’t much information available about MonsterAdapter. The company’s Facebook page, which appears to be its only online presence, was created on May 20, 2020, when the company announced the development of the LA-EA4r, a modified version of Sony’s LA-EA4 adapter that expanded functionality and support. MonsterAdapters has since released another adapter, the LA-VE1, which makes it possible to adapt Minolta Vectis V-mount lenses to Sony E-mount mirrorless cameras.

Now, the company is promoting its forthcoming LA-KE1, which it claims is the ‘first of its kind in the world.’ The adapter offers full autofocus, aperture control and EXIF data transfer for Pentax K-mount lenses (KAF, KAF2, KAF3 and KAF4) to Sony E-mount cameras. The adapter uses a pair of motors for turning the screw-drive autofocus in older K-mount lenses.

This not only brings the ability to shoot with Pentax lenses to Sony E-mount cameras, but also enables many of Sony’s AI-assisted focusing modes to be used with the Pentax lenses, new and old. MonsterAdapter says the exact functionality will vary depending on what camera you’re using — noting a more powerful camera likely means more features — but both Human and Animal Eye-AF focus modes should be able to work on adapted glass.

MonsterAdapter also notes that due to the limits of screw-drive lenses, this adapter is best suited for still photographs—not video. In addition to the images of the prototype adapter in this article, SonyAlphaRumors has also shared a hands-on video demonstration of it in action:

No price is given for the LA-KE1 adapter, but it is set to ‘hit the market within this year,’ according to the company’s announcement post. You can keep up with the latest news on MonsterAdapter’s Facebook page.

Kategorier: Sidste nyt

Gear of the Year: Barney's choice (part 1) - Fujifilm X100V

Sidste nyt fra dpreview - 24 nov 2020 - 16:00

Please note: the images in this article are downsized from the original files. A link is provided below to our full samples gallery.

What a year. I thought 2016 was bad, but then 2020 barged in, ripped a room-clearing fart, handed 2016 its beer and went bananas. Hopefully you don't need me to list the many horrors of the last 11 months, because I would prefer not to.

It's surreal looking back now, but in the first six weeks of 2020 I flew roughly 15,000 miles, all of which was for work. The year began with the CES show in Las Vegas, then on to a video shoot in Texas, and another in California, followed by the launch of the Fujifilm X100V, in London. And that's where this story begins...

...I don't know why I did the dot-dot-dot thing there, this article is only one page long.

By early February, the novel coronavirus had been a blip on the outer edge of my mental radar screen for a while. In late January our video crew and I had shared some wry jokes about 'flying now while we still can, ha ha...', but it was the following month, at the launch of the Fujifilm X100V in London, that I started to sense a more general concern. Speaking to Fujifilm executives at the event (and, significantly in retrospect, those unexpectedly not at the event) it was clear that the situation in China (where Fujifilm has some manufacturing) had become grave, and in addition to the tragic human cost in Asia, COVID-19 was having a profound effect on production and supply chain logistics around the world.

The Fujifilm X100V was launched in February at an event in London. I added a few days to that trip to see family - my last opportunity to do so, as it turned out, for what may still be a long time.

1/60sec|F3.2|ISO 800

I was in the UK for a week, which included a few days spent with my family in London and the north of England. On the darkened plane back to Seattle, I remember wondering when I would see the old country again. Coincidentally, that was also the last outing for my much-traveled and now-expired European Union GB passport.

By early March things were getting serious all over the world (with DPReview's adopted home state of Washington an early hotspot). Partly to scratch the itch of my own growing panic, I spent a few days researching the impact of COVID-19 on the photo industry. Alongside many reasonable, thoughtful comments on the resulting article are several that have since aged like fine milk.

Oddfellows Cafe in Capitol Hill, Seattle, boarding up after the WA lockdown was announced in mid March. Cafes, restaurants and many other businesses put boards up over their windows and encouraged local artists to decorate the storefronts.

1/420sec|F5.6|ISO 160

We all know what happened next. After March 16th 2020, I didn't so much as hug another human being for more than 70 days. Things got weird.

Where does the Fujifilm X100V tie into all of this? Beyond the fateful coincidence of the timing of its launch in early 2020, it's the camera that's been in my hands almost every day for the past ten months.

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It was a preproduction X100V that I took on my trip back home to the UK in February, and which I used to take the last (for who knows how long) photographs of my sister, my nephew and my parents. I subsequently bought one, and my personal X100V was with me all through quarantine. I carried it with me on my daily permitted walks and bike rides through Seattle's deserted streets, in that strangest, sunniest of springs, where normally busy neighborhoods looked like Edward Hopper paintings and everyone remarked on the sound of birdsong.

I also took a lot of mirror selfies, although in my defense it was a difficult time.

When I finally ventured out into crowds in late May and early June following protests after the killing of George Floyd, it was with X100V. When Seattle briefly became the focus of global attention following the establishment of the short-lived CHAZ/CHOP zone (a much smaller area than you might have been lead to believe, which began a mere block away from my apartment), I visited several times with the X100V, making sure that I had a personal record of what was going on. Even when the circumference of my world had shrunk to the handful of blocks around my front door, photography helped me feel somewhat connected.

Protesters gather near Cal Anderson Park in Seattle in early June – one of many protests that followed the death of George Floyd at the hands of police in Minneapolis.

1/60sec|F8|ISO 320 Sheer anarchy! Members of the local community paint a mural on the road (now preserved) near the SPD East Precinct, later in June.

1/60sec|F5.6|ISO 800

The X100V is a near-perfect everyday camera because it's small enough to tuck under a light jacket when I'm out walking or cycling, fast, very simple to use and delivers great pictures. The new lens in the 'V' with its two aspherical elements, is far superior for close work to the original version on the X100/S/T/F and it performs much better with the 28mm wide converter attached. The X100V is one of those rare cameras that does exactly what I need it to, without a lot of fuss. It's as simple at that, really; a reliable companion in a most unsettling season.

A slightly misfocused grab-shot at a spontaneous celebration following the announcement that Donald Trump had lost Pennsylvania (and the 2020 presidential election) earlier this month. In the background to the left is Oddfellows Cafe. This may have been a technically better photo had I taken it with an ILC, but the X100V is the camera I had with me - which is the whole point.

1/60sec|F8|ISO 640

For all the documentation that I've done this year with the X100V, I do not describe myself as a documentary photographer. I know several photojournalists personally, and I could never do what they do, especially in the current political climate here in the US, where personal safety is of increasing concern for members of the media. The pictures I take are primarily for me, for the purposes of creative practice, memory and reflection. And while there was much that happened in 2020 that I wish I could forget (and it's not over yet), there was certainly a lot to reflect on...

...I'm doing that dot-dot-dot thing again, which means I should probably stop before this all gets hopelessly introspective. I think we've all had quite enough of that this year.

Kategorier: Sidste nyt

Review: Does the Canon Rebel T8i DSLR make sense in an increasingly mirrorless world?

Sidste nyt fra dpreview - 24 nov 2020 - 15:00
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The Canon EOS Rebel T8i (also known as the EOS 850D or Kiss X10i in some markets) is a 24MP DSLR camera that is compatible with the company's EF and EF-S mount lenses. It has an optical viewfinder, but it also has a usable and responsive touchscreen interface and live view experience that's a match for the company's mirrorless camera options.

For much of the world, shifting consumer preferences towards mirrorless cameras have left DSLRs looking like relics of history, though Europe and the Americas remain holdouts. Last year, Europeans still bought about 1.4 DSLRs for every mirrorless camera sold, while in the Americas the ratio was even higher at 1.7:1.

So why might you consider a DSLR in our increasingly mirrorless world? Some photographers still prefer DSLRs for their crisp, lag-free through-the-lens viewfinders, and there's a much wider array of lenses available to DSLR shooters without the need for adapters.

ISO 2500 | 1/100 sec | F5 | Canon EF-S 18-55mm @ 44mm

Yet relatively few manufacturers are left in the consumer DSLR market. Only Canon, Nikon and Ricoh (which makes Pentax-branded DSLRs) remain, making new models few and far between. Among these, Canon's EOS Rebel series are the biggest sellers. The Rebel T8i now sits at the top of that line, replacing 2017's T7i.

Priced at $749.99 body-only or $900 with an EF-S 18-55mm IS STM kit lens, the Canon T8i is available immediately.

Key specifications
  • 24-megapixel APS-C image sensor
  • EF or EF-S lens compatibility
  • ISO 100 to 25,600, extends to 51,200
  • 7 fps continuous shooting, or 7.5 fps in live view
  • 45 point, all cross-type phase-detect AF
  • 0.51x pentamirror viewfinder with 95% coverage
  • 3.0" vari-angle touch-screen LCD
  • 24p 4K video with 1.6x crop, or full-sensor 1080p60
  • 800 shot battery life, or 310 shots with live view
Out-of-camera JPEG.
ISO 250 | 1/100 sec | F5.6 | Canon EF-S 18-55mm @ 55mm

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What's new and how it compares The AF-ON button and rear dial make the T8i a more flexible camera for users to learn and grow with than lesser Rebels.

Externally, the 24-megapixel Canon T8i looks very similar to its predecessor from most angles, although there are some control tweaks to be found on its rear panel including a new rear control dial and AF-On button. While Wi-Fi and Bluetooth connectivity remain, NFC has been dropped as the constant Bluetooth connection speeds up the connection process the way NFC used to. Lastly, the flash must now be raised manually when needed, as it can no longer pop up by itself. As we'll see later on, this is a good thing.

On the inside, while the sensor resolution and sensitivity range are unchanged, a faster image processor allows a modest increase in burst performance. It's now rated at 7 frames per second through the viewfinder, or 7.5 fps in live view mode, up from 6 fps in the T7i. There's also a somewhat finer-grained 384-zone metering sensor in place of the earlier 315-zone sensor.

The Rebel T8i uses a familiar 24MP sensor with Dual Pixel AF that offers solid noise performance and resolution.

Canon has also added support for 4K movie capture, although this comes with several limitations including a significant focal length crop, contrast-detection autofocus (rather than the more reliable Dual Pixel AF you get in lesser Full HD modes) and a fixed 24 fps frame rate. And autofocus algorithms have been refined to add eye detection in live view mode, and face detection when shooting through the viewfinder.

How it compares...

Compared with two of its mirrorless rivals, the Nikon Z50 and Sony a6100, the Canon T8i offers much better battery life, so long as you stick to its optical viewfinder. The T8i is quite a bit bulkier though, despite not offering weather-sealing.

Canon T8i Nikon Z50 Sony a6100 MSRP (body) $749.99 $859.95 $750 Sensor 24.1MP APS-C 20.9MP APS-C 24MP APS-C Type DSLR Mirrorless Mirrorless Sensitivity (native) 100-25600 100-51200 100-32000 Lens mount Canon EF / EF-S Nikon Z Sony E Viewfinder type Optical pentamirror SLR 2.36M-dot OLED EVF 1.44M-dot EVF Viewfinder magnif. / coverage 0.51x, 95% 0.68x, 100% 0.71x, 100% LCD 3” fully articulating 3.2” tilting 3” tilting Touch-screen Yes Yes Yes Included flash Pop-up Pop-up Pop-up Weather-sealing No Yes No Max. burst 7.0 fps (viewfinder) / 7.5 fps (live view) 5 fps (mechanical) / 11 fps (electronic) 11 fps (mechanical) Max. shutter 1/4000 1/4000 1/4000 Video 4K/24p, 1080/24-60p 4K/24-30p, 1080/ 24-120p 4K/24-30p, 1080/ 24-120p 4K crop 1.6x None 1.2x (4K/30p) Battery life (CIPA) 800 shots (OVF); 310 shots (Live View) 320 shots 420 shots Dimensions 131 x 103 x 76mm 127 x 94 x 60mm 120 x 67 x 59mm Weight 515 g 450 g 396 g

One thing that's hard to capture in a table are the differences between the camera's AF systems. In its optical viewfinder, the T8i's 45 autofocus points are centrally clustered, which can get in the way of creative compositions. Switch into live view and you have autofocus points spread across the frame, the same as the other options give you on their rear screens and their electronic viewfinders.

Out-of-camera JPEG.
ISO 500 | 1/60 sec | F4 | Canon EF-S 18-55mm @ 18mm

Compared to the smaller and more affordable Canon Rebel SL3, the T8i offers more sophisticated autofocus through its slightly smaller finder, though the SL3 offers you a third more shots per charge. On the mirrorless side of the equation, the T8i bests the Canon EOS M50 Mark II's 235-shot battery life whether you're using the optical viewfinder or live view, but the mirrorless model is lower-priced, significantly more compact / lightweight and offers faster 10 fps burst capture.

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Body, handling and controls

Although its body is plastic, the Canon T8i is very solid in-hand, with no creaks or flexing. It's also pretty light and compact for a DSLR. The main controls are well-placed and easy to locate by touch.

The new AF-On button is ideally situated for quick autofocus adjustments with a slight thumb motion. (And via a custom setting, can be set to AF-Off instead.) The Wi-Fi button and indicator lamp are gone but won't be missed, as you won't need them often. We recommend connecting via Bluetooth, which maintains a constant connection that draws little power, and also makes connecting via Wi-Fi to send images a snap.

Out-of-camera JPEG.
ISO 100 | 1/125 sec | F5.6 | Canon EF-S 18-55mm @ 55mm

The new rear control dial is also a nice addition, though since it's integrated with the four-way controller, it can't be reached without adjusting your grip. On the plus side, it's only active when the exposure metering system is brought to life by a half-press of the shutter button or you're in a menu, preventing accidental settings changes.

There will always be some photographers that prefer an optical viewfinder; the T8i's is serviceable, but it's on the small and dim end of the spectrum.

Sadly, the pentamirror viewfinder is dim and tunnel-like compared with the electronic finders of mirrorless rivals and even some rival SLRs, such as the less-expensive Pentax K-70 (which has a larger pentaprism design which is brighter than pentamirror designs).

The rear LCD is crisp and easy to see even under sunlight if you turn up the brightness. Its fully-articulated mechanism allows framing from most angles, even for selfies.

The vari-angle LCD allows selfie-shooting too, but the ergonomics aren't ideal when holding the camera backwards. Out-of-camera JPEG.
ISO 2000 | 1/60 sec | F4 | Canon EF-S 18-55mm @ 18mm

The on-screen UI is standard Canon. It's fairly clear and logically laid-out, and can be navigated with buttons, dials or the very precise touchscreen. Your most-used options can be saved in the My Menu section for quick recall.

Battery life is excellent when shooting stills through the viewfinder, and I never needed a second battery even during lengthy day trips. (I passed 500 frames captured without the charge level indicator dropping even a single bar, which impressed me.) If you shoot a lot of video or use live view frequently, the LCD can burn through power fairly quickly, though. For that reason, the T8i goes to sleep by default after ten seconds unless in menus or live view / playback modes.

Top plate controls are fairly typical Canon, and the quick switch over to video mode is a nice touch.

A standalone charger is included in the bundle, so you can leave a second battery charging while using the camera. Unfortunately in-camera charging via USB isn't supported, so you can't share a charger and cable with another device when you want to pack light. As well as USB, there are HDMI, microphone and remote control ports.

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Image quality

With the same sensor resolution and sensitivity range as its predecessor, you might expect similar image quality from the Canon T8i: and you'd be right. As an affordable camera aimed at entry-level photographers, it's good enough but won't win any awards. That's not to say there are no differences, however.

Out-of-camera JPEG.
ISO 800 | 1/80 sec | F4.5 | Canon EF-S 18-55mm @ 24mm

Out of camera JPEGs mostly showed pleasing color both outdoors and under artificial light, although I found the latter a little more variable, with some images a tad warm and others a little on the cool side. In both the green fully-automatic mode and program autoexposure, the T8i's metering proved pretty accurate, and at lower sensitivities there was a fair amount of fine detail as well, although I felt the default sharpening was a touch aggressive.

Comparison of ISO 100 and 25,600. See the sample gallery for a full ISO sensitivity series.

ISO sensitivity in auto mode is limited to a maximum ISO of 6400 by default, and that seems like a good cutoff point. Some noise and loss of saturation starts to become noticeable by ISO 3200, but it's not until you reach ISO 6400 that it really begins to intrude. You're best off avoiding ISO 12800 and above as there's a significant loss of fine detail to noise, and colors can look decidedly washed out.

Out-of-camera JPEG.
ISO 3200 | 1/80 sec | F4.5 | Canon EF-S 18-55mm @ 18mm

Of course, shooting in Raw format helps somewhat as you can rely on the greater processing power of your computer to help tame noise while still holding onto color and detail. And there's a fair bit of scope to correct exposure within a couple of stops, as well. Raws can also be processed in-camera, which is a nice touch for making quick adjustments on the go.

We're honestly pleased to find that the T8i's flash must be manually raised; previous Canon Rebels would often raise their automatically in situations where it actually has a negative impact on your images.

One notable change is that the Rebel T8i no longer tends to overexpose nearby subjects by raising and firing the flash when it's not really needed, since it can no longer pop up automatically. You need to pay attention to your shutter speeds, though, and either raise the ISO, or lift the flash yourself. Sadly, there's no warning in the viewfinder when shutter speeds stray below the point where exposures can safely be shot hand-held.

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The Canon T8i's autofocus system has two distinct operating modes, depending upon whether you're using the optical viewfinder or live view modes. Both systems are capable of locking focus quickly and accurately in good light. In darker conditions, both take a bit longer to achieve a lock, but if I was capable of seeing the subject through the viewfinder, the camera could usually manage to focus on it within a couple of seconds.

A simplified look at the T8i's optical viewfinder AF system.

When shooting through the viewfinder there are a total of 45 autofocus points, all of which are cross-type. As you can see in the above illustration, they only cover about two thirds of the frame width and a little over a third of the frame height. For live view mode, almost the entire frame is covered vertically, and significantly more of its width as well.

Out-of-camera JPEG.
ISO 500 | 1/60 sec | F4 | Canon EF-S 18-55mm @ 18mm

Live view also offers both face and eye detection and lets you select which face or eye to focus on using the four-way controller or touch-screen. Viewfinder shooting only has face detection, and you can't directly control which face to focus on, although if you aim directly at a particular face before half-pressing the shutter button, the camera will then try to follow that face.

Both systems detect faces pretty well, and the tracking implementation is fairly robust. In testing with my son running and riding a bike directly towards me, the T8i was able to accurately track his location and keep the focus locked on his face most of the time until he was very close to the camera. This isn't by any means a sports shooter, but I think it's more than capable of keeping up with amateur photographers' needs in this respect.

Out-of-camera JPEG.
ISO 100 | 1/60 sec | F7.1 | Canon EF-S 18-55mm @ 27mm

Really, my only complaint with autofocus is that it can be confusing if you're frequently switching between live view and viewfinder shooting. Each mode is configured separately, so for example switching one mode to continuous servo AF won't affect the other mode's setup. On the other hand, this separation of settings could be useful if you're switching from shooting stills in the viewfinder and video in live view. Which brings us to...

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The addition of 4K video is one of the bigger changes in the Canon T8i, but it's really rather a shame that it comes hobbled by several significant limitations.

First and most importantly, there's that significant 1.6x focal length crop on top of the crop imposed by its APS-C sensor size. In other words, a 2.6x effective crop even before you enable digital IS, which crops in still further. In 4K mode without digital IS, the optional 18-55mm kit lens yields an effective 47-143mm range, so your wide-angle options are seriously limited.

4K video has a significant focal length crop. Both videos above were shot at the same location and focal length. Note also the false-color artifacts in the water ripples in the Full HD clip.

The longer effective focal length also means that even with both optical and digital IS active, the stabilization system can struggle to smooth camera shake in 4K, especially if you're walking.

4K mode comes with a fixed 24 frames per second capture rate, too, and uses contrast-detection autofocus which, compared to phase detection, is slower and has slight but noticeable hunting.

Dual Pixel AF, seen in this demo, is only available in Full HD. In 4K, you can expect more distracting hunting before the Rebel locks on to its targets.

The good news is that if you can put up with those limitations, 4K image quality is fairly good, with lots of crisp detail and pleasing color. And while there's definitely some rolling shutter effect present, causing verticals to lean during subject motion or quick pans, it's far from the worst I've seen.

Enabling Movie Digital IS causes a significant focal length crop, too. Both of these Full HD clips have optical stabilization active, but the second clip with Enhanced IS still can't entirely steady the motion of walking, even at a wide 18mm (29mm equiv.) focal length.

But I think it's better to look at this as a Full HD camera which can also shoot 4K with more distant subjects and relatively sedate motion in a pinch. In Full HD, where you get phase detection AF and access to frame rates as high as 60 fps, there's less fine detail but focusing is quicker and more confident, and motion is rendered more smoothly. The biggest downside is that Full HD seems more prone to moiré and false color artifacts.

The T8i lacks significant scope for slow-motion video, but does offer a time-lapse movie mode, as well as supporting manual exposure, focus peaking and external audio recording.

Back to top


At the end of the day, the Canon Rebel T8i leaves me with rather mixed emotions. On the one hand, for fans of DSLRs like myself, there are fewer and fewer choices on offer, and it does pack quite a lot into a fairly compact, lightweight package by DSLR standards.

But on the other hand, it trails its mirrorless camera rivals in terms of both autofocus and burst capture performance. And the feature which differentiates it most clearly from those rivals – that mirror-based optical viewfinder – gives a disappointingly small and dim view of your subject.

Out-of-camera JPEG.
ISO 12800 | 1/60 sec | F4 | Canon EF-S 18-55mm @ 18mm

While 4K video capture is finally available in the Rebel T8i, it also comes with some major limitations that make it feel more as if it was added to fill out the spec sheet than for real-world use.

But with all of that said, the T8i does give you pretty good still image quality and usable high-definition video capture. And it does so at a pretty affordable pricetag, as well, and with battery life that's in a totally different ballpark to mirrorless rivals if you tend to rely on the viewfinder.

The Rebel T8i isn't the future for Canon, but it offers plenty of features and good ergonomics at an affordable pricetag.

There's definitely something to be said for the vast range of Canon EF and EF-S mount lenses on offer, too; though keep in mind there isn't a ton of variety in the more affordable EF-S range, and the EF lenses, designed for larger full-frame sensors, are bigger and pricier. And with Canon focusing on its new RF mount, we wouldn't expect a glut of new EF and EF-S lenses to suddenly appear down the line.

Out-of-camera JPEG.
ISO 25600 | 1/25 sec | F5.6 | Canon EF-S 18-55mm @ 55mm

So, does the Canon T8i represent the future for Canon? Probably not. But does it offer plenty of camera for the money, particularly for the less experienced photographers at which it's aimed? I'd say so, despite my reservations about its viewfinder and 4K video capabilities.

And I think that makes it a worthwhile buy, especially if you happen to spot it for sale below its list price.

What we like What we don't
  • Through-the-lens optical viewfinder is crisp and lag-free
  • Good ergonomics and solid build
  • Compatible with a vast range of Canon EF and EF-S lenses and accessories
  • Excellent battery life (if you stick to the optical viewfinder)
  • Good still image quality, albeit not as good as some newer models
  • Fully articulating touchscreen display is very versatile
  • Relatively small, dim viewfinder, even by APS-C DSLR standards
  • Wide-angle possibilities are very limited for 4K capture
  • No PDAF and only 24fps for 4K, too
  • Full HD video is prone to moiré and false color
  • Less point-dense AF than mirrorless rivals
  • No in-body stabilizer
  • AF points for viewfinder shooting clustered near the center of the frame
  • No ability to charge battery over USB

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Scoring Canon EOS Rebel T8i (EOS 850D / EOS Kiss X10i)Category: Entry Level Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Canon EOS Rebel T8i is well-built with comfortable ergonomics and provides solid image quality for users that prefer an optical viewfinder. Unfortunately, its video capabilities aren't that impressive, and the viewfinder autofocus system is a little basic compared to what you get on mirrorless cameras through their electronic finders. Still, if you're in the market for a reasonably affordable DSLR, the EOS Rebel T8i is worth a look.Good forAmateur photographers looking for a solid camera to learn and grow with, users looking for a fairly compact camera with an optical viewfinder.Not so good forPhotographers that want the best autofocus and exposure performance through the viewfinder, users that are looking for good 4K video and those looking for even more compact options.80%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"canon_eos850d","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."})
Kategorier: Sidste nyt

2020 Black Friday and Cyber Monday camera gear deals

Sidste nyt fra dpreview - 23 nov 2020 - 22:10

Please note that this article will be updated over the course of the holiday week. We will make every effort to keep it up to date but we cannot guarantee that all of the deals listed below will be available at the time of reading.

Here in the US, we're looking forward to Thanksgiving. While this year's Turkey Day will be a little unusual thanks to you-know-what, some things remain the same. Holiday season traditionally means shopping season, and the week of Black Friday, Small Business Saturday and Cyber Monday deals is here.

We've compiled a list of the best offers on cameras, lenses, accessories and software, and we're going to be updating this article regularly as more deals are listed and others are taken down. If you find a nice deal you think we've missed, or you notice one that's expired, please let us know in the comments below.

Do note that the 'SAVE' figures below represent discount from original MSRP and we make no guarantees that the discounts listed will be available across the entire holiday weekend.

We're focusing on deals from major U.S. online retailers in this article, and if you choose to shop via the Amazon links below, you'll be supporting DPReview in a small way.

Happy holidays!

Accessories Loupedeck (November 27-30)

Loupedeck CT Save 10%
$500, normally $550 (Loupedeck, Amazon)

Loupedeck CT Save 10%
$225, normally $250 (Loupedeck, Amazon)

Peak Design (November 16-30)

Everyday Line (V2) Save 20%
(Adorama, B&H, Peak Design)

Travel Line Save 20%
(Adorama, B&H, Peak Design)

Straps, Clips and Accessories Save 10%
(Adorama, B&H, Peak Design)

Travel Tripod Save 10%
(Adorama, B&H, Peak Design)


502 Bright Full HD On-Camera Monitor Save $100

$699, usually $799


Entire Store — Save 15%


You can see a full list of Canon’s deals on its dedicated holiday deals page


EOS RP RF24–105mm F4–7.1 IS STM Lens Kit — Save $400
$999, usually $1,399 (Amazon, B&H, Canon)

EOS R (body only) — Save $200
$1,599, usually $1,799 (Adorama, Amazon, B&H, Canon)

EOS M6 Mark II + EF-M 15–45mm f/3.5–6.3 IS STM + EVF Kit — Save $200
$899, usually $1,099 (Amazon, B&H, Canon)

EOS M6 Mark II + EF-M 18–150mm f/3.5–6.3 IS STM + EVF Kit Black — Save $200
$1,149, usually $1,349 (Amazon, B&H, Canon)

EOS 90D Video Creator Kit — Save $150
$1,299, usually $1,449 (Adorama, Amazon, B&H, Canon)

EOS M50 Video Creator Kit — Save $150
$599, usually $749 (Adorama, B&H, Canon)

Powershot G7 X Mark II — Save $130
$499, usually $629 (Adorama, Amazon, B&H, Canon)

Powershot G7 X Mark III — Save $100
$649, usually $749 (Adorama, Amazon, B&H, Canon)


EF-S 24mm f/2.8 STM — Save $30
$119, usually $149 (Adorama, Amazon, B&H, Canon)

EF-S 35mm f/2.8 Macro IS STM — Save $50
$299, usually $349 (Adorama, Amazon, B&H, Canon)

EF 40mm f/2.8 STM — Save $20
$179, usually $199 (Adorama, Amazon, B&H, Canon)

RF 50mm F1.2 L USM – Save $100
$2,199, usually $2,299 (Amazon, B&H, Canon)

RF 85mm F1.2 L USM – Save $100
$2,599, usually $2,699 (Amazon, B&H, Canon)

RF 24–70mm F2.8L IS USMSave $100
$2,199, usually $2,299 (Amazon, B&H, Canon)

RF 24–240mm F4–6.3 IS USM — Save $200
$699, usually $899 (Amazon, B&H, Canon)

RF 70–200mm F2.8 L IS USM — Save $100
$2,599, usually $2,699 (Amazon, B&H, Canon)


Coming soon...


You can view all of Nikon’s deals on its Black Friday camera deals page


Z7 (body only) — Save $300
$2,499, usually $2,799 (Adorama, Amazon, B&H, Nikon)

Z7 with 24–70mm F4 S zoom lens kit — Save $300
$3,099, usually $3,399 (Adorama, Amazon, B&H, Nikon)

Z6 (body only) — Save $400
$1,599, usually $1,999 (Adorama, Amazon, B&H, Nikon)

Z6 with 24–70mm F4 S zoom lens kit — Save $400
$2,199, usually $2,599 (Adorama, Amazon, B&H, Nikon)

Z6 filmmakers kit — Save $400
$3,599, usually $3,999 (Adorama, Amazon, B&H, Nikon)

Z5 (body only) — Save $200
$1,199, usually $1,399 (Adorama, Amazon, B&H, Nikon)

Z5 with 24–200mm F4–6.3 VR lens kit — Save $200
$1,999, usually $2,199 (Adorama, Amazon, B&H, Nikon)

Z5 with 24–50mm F4–6.3 lens kit — Save $200
$1,499, usually $1,699 (Adorama, Amazon, B&H, Nikon)

Z50 Creator’s Kit — Save $100
$1,049, usually $1,149 (Adorama, Amazon, B&H, Nikon)

D750 (body only) — Save $200
$1,499, usually $1,699 (Adorama, B&H, Nikon)

D850 (body only) — Save $500 (currently back ordered)
$2,499, usually $2,999 (Adorama, B&H, Nikon)


Nikkor Z 50mm F1.8 S — Save $100 (currently back ordered)
$499, usually $599 (Amazon, B&H, Nikon)

Nikkor Z 35mm F1.8 S — Save $150
$699, usually $849 (Amazon, B&H, Nikon)

Nikkor Z 85mm F1.8 S — Save $100 (currently back ordered)
$699, usually $799 (B&H, Nikon)

Nikkor Z 14–30mm F4 S — Save $200
$1,099, usually $1,299 (Amazon, B&H, Nikon)

Nikkor Z 24–70mm F2.8 S — Save $300
$1,999, usually $2,299 (Amazon, B&H, Nikon)

AF-S Nikkor 24–70mm F2.8E ED VR — Save $500
$1,599, usually $2,099 (Amazon, B&H, Nikon)

AF-S Nikkor 70–200mm F2.8E FL ED VR — Save $450
$1,899, usually $2,349 (Adorama, Amazon, B&H, Nikon)

AF-S Nikkor 500mm F5.6E PF ED VR — Save $300
$3,299, usually $3,599 (Amazon, B&H, Nikon)

Olympus Cameras

OM-D E-M1X — Save $1,000
$1,999, usually $2,999 (Adorama, Amazon, B&H)

OM-D E-M1 Mark II (body only) — Save $800
$899, usually $1,699 (Adorama, Amazon, B&H)

OM-D E-M1 Mark II with M.Zuiko 12mm-200mm — Save $500
$1,499, usually $1,999 (Adorama, Amazon, B&H)

OM-D E-M5 Mark III with M.Zuiko 14–150mm lens — Save $600
$1,199, usually $1,799 (Adorama, Amazon, B&H)

OM-D E-M5 Mark III with M.Zuiko 12–45mm PRO lens — Save $550
$1,299, usually $1,849 (Adorama, Amazon, B&H)

OM-D E-M10 Mark IV (body only) – Save $150
$549, usually $699 (Adorama, Amazon, B&H)

OM-D E-M10 Mark IV with M-Zuiko 14–42mm EZ lens – Save $200
$599, usually $799 (Adorama, Amazon, B&H)

OM-D E-M10 Mark III (body only) — Save $200
$449, usually $649 (Adorama, Amazon, B&H)

OM-D E-M10 Mark III with M.Zuiko 14–42mm EZ lens — Save $300
$499, usually $799 (Adorama, Amazon, B&H)


M.Zuiko 17mm F1.8 — Save $100
$399, usually $499 (Adorama, Amazon, B&H)

M.Zuiko 7–14mm F1.2 PRO — Save $200
$1,199, usually $1,399 (Amazon)

M.Zuiko 12–200mm F3.5–6.3 — Save $150
$749, usually $899 (Amazon, B&H)

M.Zuiko 40–150mm F2.8 PRO — Save $150
$1,349, usually $1,499 (Adorama, Amazon, B&H)

M.Zuiko 100–400mm F5–6.3 IS — Save $100
$1,399, usually $1,499 (Adorama, B&H)

M.Zuiko 300mm F4.0 IS PRO — Save $150
$2,749, usually $2,899 (Amazon, B&H)


Coming soon...


18–35mm F1.8 DC HSM | A Save $120
$679, usually $799 (Amazon, B&H, Sigma)

24–70mm F2.8 DG OS HSM | A Save $240
$1,059, usually $1,299 (Adorama, Amazon, B&H, Sigma)

24–70mm F2.8 DG DN | A Save $240
$1,059, usually $1,299 (Adorama, Amazon, B&H, Sigma)

24–105mm F4 DG OS HSM | A Save $100
$799, usually $899 (Adorama, Amazon, B&H, Sigma)

70–200mm F2.8 DG OS HSM | S Save $160
$1,339, usually $1,499 (Amazon, B&H, Sigma)

16mm F1.4 DC DN | C Save $50
$399, usually $449 (Amazon, B&H, Sigma)

30mm F1.4 DC DN | C Save $50
$289, usually $339 (Adorama, Amazon, B&H, Sigma)

35mm F1.4 DG HSM | A Save $200
$699, usually $899 (Amazon, B&H, Sigma)

45mm F2.8 DG DN | C Save $100
$449, usually $549 (Amazon, B&H, Sigma)

50mm F1.4 DG HSM | A Save $150
$799, usually $949 (Amazon, B&H, Sigma)

56mm F1.4 DC DN | C Save $50
$429, usually $479 (Amazon, B&H, Sigma)

85mm F1.4 DG HSM | A Save $150
$1049, usually $1,199 (Amazon, B&H, Sigma)

MC-11 Mount Converter Save $100
$149, usually $249 (Adorama, Amazon, B&H, Sigma)

Sony Cameras

a7 III — Save $300
$1,698, usually $1,998 (Adorama, Amazon, B&H)

a7 III with 28–70mm lens — Save $300
$1,898, usually $2,198 (Adorama, Amazon, B&H)

a7 III with 24–105mm lens — Save $600
$2,880, usually $3,480 (Adorama, B&H)

a7R IV (body only) — Save $500
$2,998, usually $3,498 (Adorama, Amazon, B&H)

a7R IV with 24–70mm F2.8 lens — Save $715
$5,118, usually $5,833 (B&H)

a7R II — Save $600
$1,198, usually $1,798 (Adorama, Amazon, B&H)

a6000 with 16–50mm Lens — Save $150
$498, usually $648 (B&H)

a6600 (body only) — Save $100
$1,298, usually $1,398 (Adorama, Amazon, B&H)

ZV-1 — Save $100
$698, usually $798 (Adorama, Amazon, B&H)


FE 35mm F1.8 Lens — Save $50
$698, usually $748 (Amazon, B&H)

FE 16–35mm F2.8 GM Lens — Save $200
$1,998, usually $2,198 (Adorama, Amazon, B&H)

FE 24–70mm F2.8 GM Lens — Save $200
$1,998, usually $2,198 (Adorama, Amazon, B&H)

FE 24–105mm F4 lens — Save $300
$1,098, usually $1,398 (Adorama, Amazon, B&H)

FE 70–200mm F2.8 GM OSS Lens — Save $200
$2,398, usually $2,598 (Adorama, Amazon, B&H)

Vario-Tessar T* FE 16–35mm F4 Lens — Save $250
$1,098, usually $1,349 (Adorama, Amazon, B&H)

Vario-Tessar T* FE 24–70mm f/4 Lens — Save $200
$698, usually $898 (Adorama, Amazon, B&H)

Please note, DPReview is a wholly owned but editorially independent subsidiary of Amazon. This article was put together entirely and exclusively by DPReview's editorial staff, without any involvement from our parent company.

Kategorier: Sidste nyt

iFixit tears down the iPhone 12 Pro Max, showcasing new camera tech

Sidste nyt fra dpreview - 23 nov 2020 - 19:31

Customers have gotten their hands on Apple's latest family of iPhones, including the largest iPhone ever, the iPhone 12 Pro Max. While customers have been enjoying using the new phones, over at iFixit, the team has been busy tearing them apart. They've taken apart the iPhone 12 mini and the two medium-sized iPhone 12s, the 12 and 12 Pro. Over this past weekend, the iFixit crew got to work dismantling the iPhone 12 Pro Max.

Image courtesy of iFixit and Creative Electron.

Before diving in, it's worth recapping the iPhone 12 Pro Max's features. It is powered by an Apple A14 Bionic system on chip and includes 6GB of RAM. Internal storage options include 128GB, 256GB and 512GB options. The phone features a 6.7" Super Retina XDR OLED display with a P3 wide color gamut and Apple's True Tone technology. It is the largest display ever in an iPhone, and according to DisplayMate, it's a fantastic display.

iPhone 12 Pro Max camera modules. Image courtesy of iFixit.

With respect to photography, the iPhone 12 Pro Max has unique components. It has a 12MP triple camera system like the iPhone 12 Pro, but the Max includes a 47% larger image sensor, a faster F1.6 lens, improved image stabilization, a new 65mm (equivalent) telephoto lens, and improved high ISO performance. If you want to learn more about the performance of the new camera system in the iPhone 12 Pro Max, check out this article: 'Halide's deep dive into why the iPhone 12 Pro Max is made for 'Real Pro Photography'.

X-ray image of the iPhone 12 Pro Max's rear camera module. The bottom left camera, the standard wide angle camera, has a 47% larger image sensor than the camera found in the iPhone 12 Pro. The four black magnets around the same camera are used for the new sensor-shift image stabilization feature, found exclusively in the iPhone 12 Pro Max and not Apple's other iPhone 12 models. Image courtesy of Creative Electron and iFixit.

After taking apart the iPhone 12 Pro Max's new case construction, iFixit was able to investigate the new camera array. As you can see in the x-ray image above captured by Creative Electron, the standard wide camera (shown bottom left) has a noticeably larger image sensor. You can also see magnets around the sensor, which are being used for the new sensor-shift image stabilization tech found exclusively in the iPhone 12 Pro Max. For those lamenting the lack of the larger sensor in the standard iPhone 12 Pro, iFixit states that 'There's a decent chance this sensor wouldn't fit in the cramped corner of the smaller iPhone 12 Pro without compromises.'

Close-up image of the standard wide angle camera module in the iPhone 12 Pro Max. Image courtesy of iFixit.

There's a lot to see inside the iPhone 12 Pro Max. You can head to iFixit's teardown for more photos and information about the different internal components and how they relate to the features of the iPhone 12 Pro Max. You can also see a replay of iFixit's live-streamed teardown of the phone below.

Kategorier: Sidste nyt

Canon RF 85mm F2 Macro IS sample gallery

Sidste nyt fra dpreview - 23 nov 2020 - 15:00
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Canon's RF 85mm F2 Macro IS offers EOS R-series shooters an affordable, stabilized and fast-ish portrait prime. Its 'Macro' designation also reflects its close-focusing capabilities and while it falls short of true 1:1 reproduction, its 0.5X magnification gives this lens another layer of versatility. Take a look at how it handles subjects out in the real world.

Kategorier: Sidste nyt

Slideshow: Winners and finalists of the 2020 Ocean Photographer of the Year awards

Sidste nyt fra dpreview - 23 nov 2020 - 14:57
Winners and finalists of the 2020 Ocean Photographer of the Year awards

Oceanographic Magazine announced the winners and finalists for its annual Ocean Photographer of the Year awards. Over 3,000 images were submitted to six categories. Canadian photographer Nadia Aly was named Ocean Photographer of the Year and also received the Collective Portfolio award.

'The photograph is perfectly exposed, compellingly dramatic and deeply intriguing. I know from experience that this image was not easy to create. Nadia Aly’s acknowledgement as the Ocean Photographer of the Year is a testament not only to the sheer power and uniqueness of her imagery, but to her journey as a photographer as well,' says awards judge Cristina Mittermeier.

This top-down image of crabeater seals resting on icebergs has won Florian Ledoux many accolades, from international photography competitions, throughout the year.

Florian Ledoux, who received a third place nod in the Conservation category for his image (above) of crabeater seals resting on icebergs, told DPReview: 'It gives my work even more exposure and a deep sense to it, and a bigger commitment toward conservation of the oceans' ecosystems that makes our life possible on Earth. It is an honor be amongst very talented photographers working in the same direction with love for the planet.'

All winners, and highly commended images, can be viewed here.

Winner, The Ocean Photographer of the Year: Nadia Aly

Artist Statement: An aggregation of mobula rays in clear waters off Baja California Sur, Mexico.

Runner-Up, The Ocean Photographer of the Year: Sacha Specker

Artist Statement: Between two realms. A surfer seemingly waves to the world below as he surfs a wave at Log Cabins, Oahu, Hawaii.

Third Place, The Ocean Photographer of the Year: Magnus Lundborg

Artist Statement: A rare white southern right whale photographed off Puerto Pirámides, Argentina.

Winner, Young Photographer of the Year: Cruz Erdmann

Artist Statement: The silky tentacles of a brightly coloured Magnificent Anemone sway in surging water, exposing Maldivian anemone fish. Laamu Atoll, South Maldives.

Runner-Up, Young Photographer of the Year: Ben Cammarata

Artist Statement: A juvenile black skimmer hunts for prey at the water’s surface. Martha’s Vineyard, USA.

Third Place, Young Photographer of the Year: Kyla McKlay

Artist Statement: A dolphin breaches the waterline, USA.

Winner, Community Choice Award: Tobias Baumgaertner

Artist Statement: Two penguins look out across the water, Melbourne’s lights in the distance. St Kilda, Australia.

Winner, Ocean Conservation Photographer of the Year: Matt Sharp

Artist Statement: A hermit crab crawls atop a pile of plastic in a shell made from manmade waste in the Maldives.

Runner-Up, Ocean Conservation Photographer of the Year: Andrea Benvenutti

Artist Statement: A plastic bottle lies amongst the nests of the world’s largest colony of imperial cormorants, 100km south of Puerto Madryn, Argentina.

Third Place, Ocean Conservation Photographer of the Year: Joe Daniels

Artist Statement: A diver’s regulator holder cuts into the flesh of an oceanic whitetip shark, damaging its gills. Photographed in the Red Sea, Egypt.

Winner, Ocean Exploration Photographer of the Year: Ben Cranke

Artist Statement: Penguins march through heavy snowfall and strong winds in St. Andrews Bay, South Georgia, Antarctica.

Runner-Up, Ocean Exploration Photographer of the Year: Karim Iliya

Artist Statement: A freediver explores a cave in Tonga.

Winner, Ocean Adventure Photographer of the Year: Jason Gulley

Artist Statement: A freediving instructor waits for their student to return from a dive below Cenote Angelita’s microbial cloud. Yucatan Peninsula, Mexico.

Runner-Up, Ocean Adventure Photographer of the Year: Sean Scott

Artist Statement: Two sharks surf a wave at Red Bluff, Quobba Station, in remote Western Australia.

Third Place, Ocean Adventure Photographer of the Year: Duncan Murrell

Artist Statement: Three spinetail devil rays engage in sexual courtship – a behavior rarely observed or photographed. Honda Bay, Philippines.

Kategorier: Sidste nyt

Best gifts for photographers in 2020

Sidste nyt fra dpreview - 22 nov 2020 - 15:00
Best gifts for photographers in 2020

First, an acknowledgement: this holiday season is unusual. It's been a grim year to say the least, and it might seem a little frivolous to be recommending gadgets and stocking stuffers when many people are struggling.

The counter-argument is that in these difficult times, creative pursuits are more important than ever. For many of us, photography is therapeutic – something that invigorates us when we're feeling depleted. If we can assist you in helping the photographer in your life find a little calm in the storm that is 2020, then we've done our job.

So in light of all of this, most of the gifts in this guide are well under $100, and many of them are geared towards enabling and enriching the experience of photography, rather than just adding to the world's landfill sites. If you're looking for camera cufflinks – and we advise against gifting them – you'll need to look elsewhere.

Jump to:
Outdoor enthusiasts | Indoor enthusiasts | Creatives | Travelers | Stocking stuffers

For outdoor enthusiasts

If you're shopping for someone whose photography takes them out into the elements, you really can't go wrong with hand warmers ($24 for 40 pairs). They're a wintertime wildlife or landscape photographer's best friend. Plus, they'll be great for all of those chilly outdoor hangouts with your COVID pod squad.

Outdoorsy types also tend to be early risers, so it's a good idea to make sure they're equipped with an excellent coffee tumbler. The Yeti Rambler ($35) is vacuum insulated, dishwasher-safe and uses a magnetic latch for easy opening and closing.

Also consider a membership or annual pass to a nearby park or wildlife preserve. In the US, an America the Beautiful interagency pass ($80) is like a golden ticket – it gets you into federally-managed sites including all national parks and national forests for a year from the time of purchase. Access to some federally-owned land has been tricky this year, but hopefully 2021 will be different.

For indoor enthusiasts

It's a safe bet that many of us will be spending a lot of time in the great indoors over the next six months. With than in mind, we've got some ideas for photo-centric gifts to help curb cabin fever.

This deck of photography-themed playing cards ($35) has a couple of tricks up its sleeve. For starters, they're gorgeously designed. They also serve a dual purpose with photography tips and techniques printed on each card. And of course, they function as regular ol' playing cards, which will come in handy when every jigsaw puzzle in the house has been assembled and disassembled again.

Henry Carroll's Photographers on Photography ($20) is another good bet for photographers of all skill levels and disciplines. It's a collection of images and reflections on the photo-making process from a wide range of established photographers. It's more thought-provoking and inspiring, less a technical guide or how-to.

For the truly ambitious tinkerer, consider a Raspberry Pi computer ($35 and up) and interchangeable lens camera module ($50). A helpful companion guide ($14) coaches the user as they build a working camera from scratch. Python coding experience is helpful, but not absolutely necessary – just ask The Verge's Becca Farsace. And don't forget a lens: Raspberry Pi offers two compatible lenses to choose from ($30/60).

For creatives

We've recommended an Instax Share instant printer in our gift guides several years in a row now, and for good reason: it's really good! You'll find lots of cheaper non-Instax options if you go looking for an instant smartphone photo printer, but you won't necessarily find the quality of of Fujifilm's instant prints in the lower priced alternatives. The Instax Share SP-3 ($100) uses Fuji's slightly larger, more Polaroid-esque square format film. It's a truly delightful way to share photos.

Capturing great-looking video clips starts with stabilization. The DJI OM 4 ($150) is smartphone gimbal that produces amazing results right out of the box with very little setup (its predecessor, the Osmo Mobile 3 is $30 cheaper and also a good buy while it's still available). The included tripod accessory will also make it possible to shoot timelapses with movement. For the photographer who's curious about video, or just wants to try something new, it's a great low-cost tool that works with the camera they already have in their pocket: their smartphone.

The Lensbaby Omni ($100) is a little sci-fi looking, but hear us out. It attaches to the front of a lens and provides adjustable, magnetic mounts that hold included pieces of glass and objects in front of the lens for creative effects. Resulting images will include dramatic flare and reflections of light in the scene, which make for interesting effects in portraits or landscapes. It's a fun way to let loose a little more creative energy and capture familiar scenes in a different way. Be sure to purchase the right size Omni – the 'small' will fit most standard DSLR kit lenses.

For travelers

Fun trips to other parts of the world have been cancelled for the foreseeable future, but that doesn't mean we have to stop planning or reminiscing about past trips – and that's part of the fun. Moleskine's travel journal ($30) is part planner, part memory keeper for short trips and long journeys alike. Sure, it's a little twee in the year 2020, but sometimes it's nice to do things with pen and paper and stop looking at screens for two seconds.

When it's safe to hit the road again, a Tom Binh organizer ($30) is a great tool for packing all of the cords and chargers that keep smartphones and cameras powered. An organized carry-on is truly the gift that keeps on giving.

Stocking stuffers

If it's that little extra something you're after, here are a few inexpensive, useful items that you can't go wrong with. For starters, extra micro fiber cleaning cloths ($10 for pack of two) are always welcome in a photographer's life, and they're especially nifty when they fold up into their own storage pouch.

Another helpful item is this photographer's multi-tool ($10), with a 5/32" (4mm) allen wrench on one end and a flat-head screwdriver on the other. Between the two, you should be able to tighten or loosen attachments on most camera supports, cages and tripod plates. This handy double-ended tool is attached to a key ring so it's always close by. What could be handier than that?

Finally, for the family photographer a Shutter Hugger ($20) is a simple-yet-genius way to coax little ones into looking at the camera. These small stuffed animals fit around a camera lens and come in four adorable varieties: monkey, giraffe, dinosaur and Dalmatian. Cute, effective and inexpensive – a true triple threat.

Kategorier: Sidste nyt

VALOI 360 Kickstarter campaign promises affordable way to digitize film

Sidste nyt fra dpreview - 21 nov 2020 - 20:58

A new Kickstarter campaign for VALOI 360 promises to deliver an affordable, high-quality way to digitize rolls of 35mm and medium format film.

VALOI 360, which is over halfway toward its roughly $74,000 USD goal, is a system of modular physical components you can use to digitize 35mm and 120mm film negatives using a digital camera. There are three main components in the 360 system. There is the VALOI 360 35mm Holder. The holder keeps 35mm film flat while allowing for a backlight to shine through. It is constructed of injection-molded plastic and has an S-curve film path to flatten the film without touching the image area.

Prototype VALOI 35mm Holder

The other holder, the VALOI 360 120 Holder, holds 120 medium format film up to 6 x 9cm frames. Like the 35mm holder, it allows light to shine through, is made of injection-molded plastic, and has an S-curve film path. Both holders also include rubber dome feet to make sure the holder sits flat on the light source underneath.

Prototype VALOI 120 Holder

The third component is the VALOI 360 Film Advancer upgrade. You place a film holder inside the Film Advancer and the advancer allows you to quickly forward to the next frame by rotating a knob. The frame and axle are made of steel and the rollers are rubber. It comes with screw-in rubber feet with long threads which can be used for leveling. As part of the Kickstarter campaign, the Film Advancer upgrade is only available alongside holders, but VALOI plans to sell it separately later.

To use the VALOI 360, you must have a digital camera (or, in a pinch, even a smartphone) and a light source. An ideal setup involves a digital camera, tripod, and a stable, color-consistent light source. The VALOI 360 holds your film flat, you capture an image of the film and if you're digitizing a negative, you use a computer to invert and process it. There is additional information about digitizing best practices on the Kickstarter page.

Prototype VALOI 360 Film Advancer

The primary challenge that VALOI hopes to overcome with its 360 system is how to hold film flat and stable in front of a light source. This is the problem that VALOI founder, Arild, first tried to address with various prototypes. Arild used plywood, acrylics, LEGO components and more in pursuit of building something affordable and easy to use when digitizing film. He even learned how to build 3D CAD designs. Mechanical engineer Wicher van Lambalgen, VALOI co-founder, came on board to turn Arild's ideas and early designs into a commercially viable prototype.

Assuming the campaign reaches its funding goal, by pledging €19 backers will receive the VALOI 35mm Holder. For €29, you can select the 120 Holder. The €44 pledge includes the VALOI Holder Pack, which includes both the 35mm and 120 film holders. For photographers wanting the VALOI 360 Film Advancer, you must step up to the VALOI 35mm Kit at €129 (the €139 kit includes the 120 Holder instead). A full kit with all three components is also available for €179. All pledge options include a scanning tutorial to help beginners learn how to best use the VALOI 360 system to scan their film. Products are expected to begin shipping to backers in April 2021. For full details about the VALOI 360 system and the available backer options, click here.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Kategorier: Sidste nyt

DPReview TV: Best smartphone gimbal

Sidste nyt fra dpreview - 21 nov 2020 - 09:00

Smartphones capture amazing video, but to kick production value up a notch consider adding a compact gimbal to your kit. This week, we test three leading smartphone gimbals: The DJI OM 4, the Moza Mini MX and the Zhiyun Smooth XS.

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

Kategorier: Sidste nyt

Angelina Jolie to direct Don McCullin biopic starring Tom Hardy

Sidste nyt fra dpreview - 20 nov 2020 - 20:29
Portrait of Sir Don McCullin from his website. To learn more about his career and work, click here.

Legendary photographer Don McCullin will be portrayed on the big screen by Tom Hardy in an upcoming film based on McCullin's autobiography, 'Unreasonable Behaviour'. It has been announced that the movie will be directed by Angelina Jolie. Gregory Burke is handling the adaptation. Burke has previously written the screenplay for the movie, '71', based on The Troubles in Northern Ireland. The movie is being produced by Working Title and Hardy Son & Baker. The film's title and release date have not been confirmed.

In a statement, Jolie says, 'I am humbled to have a chance to bring Don McCullin's life to film. I was drawn to his unique combination of fearlessness and humanity – his absolute commitment to witnessing the truth of war, and his empathy and respect for those who suffer its consequences. We hope to make a film that is as uncompromising as Don's photography, about the extraordinary people and events he witnessed, and the rise and fall of a unique era in journalism.'

The upcoming film will be adapted from McCullin's autobiography by Gregory Burke.

This will not be Jolie's first time directing a movie about real-world conflict. She has previously directed 'First They Killed My Father' in 2017. The film documented the Khmer Rouge regime in Cambodia and its devastating, violent impact on the people there.

Of the movie, McCullin, 85, said, 'I was very impressed at how she made such a powerful and accurate representation of the place at that time. I feel as if I am in safe, capable and professional hands with her.' Jolie's directorial debut in 2011, 'In the Land of Blood and Honey,' took place during the Bosnian War.McCullin's autobiography follows his life and career as a respected photojournalist and war photographer. His photography career began in earnest after working as a photographer's assistant in the Royal Air Force. After his service, McCullin began taking photos in London and earned himself various photo assignments.

Angelina Jolie has previously directed 'First They Killed My Father' in 2017. This film, along with her directorial debut, 'In the Land of Blood and Honey' (2012), focused on people caught up in violent conflict.

In 1961, McCullin won the British Press Award for his essay documenting the construction of the Berlin Wall. Three years later, he won a World Press Photo Award for his work covering violent tensions in Cyprus. In the following decades, McCullin and his camera photographed conflict across the globe, including wars in Congo, Uganda, Vietnam, Cambodia, Israel, Lebanon, Iran, Afghanistan, Northern Ireland, and many more places.

His career has been a dangerous one. He's been shot (Vietnam), imprisoned (Uganda), expelled (Vietnam), and even been the subject of a bounty (Lebanon). His photography has focused exclusively on war, however, McCullin has also shined a light on those who have fallen through the cracks in society, including the homeless in his native United Kingdom.

Conflict has never completely disappeared from McCullin's work, however. In 2015, McCullin traveled to northern Iraq to photograph the Kurdish struggle with ISIS, Syria and Turkey. For his prodigious work, McCullin was the first photojournalist to be an Order of the British Empire (OBE) in 1993.

McCullin's life is certainly rich with incredible events for Burke and Jolie to highlight in their film. For further reading, be sure to check out the movie's source material. McCullin's autobiography 'Unreasonable Behaviour' is readily available in multiple formats. McCullin has also recently released a limited edition three-volume box set of his work, 'Irreconcilable Truths.' Limited to 1,000 copies, each set is hand-signed by McCullin. You can order it here. Further, there is a documentary, 'McCullin', which was released in 2012 to critical acclaim. The film was directed by David Morris and Jacqui Morris.

Kategorier: Sidste nyt

Tokina announces 17–35mm F4 lens for Canon EF, Nikon F camera systems

Sidste nyt fra dpreview - 20 nov 2020 - 19:06

In addition to releasing its 23mm and 33mm F1.4 atx-m lenses for Fujifilm camera systems, Tokina has also revealed its latest lens for Canon EF and Nikon F mount DSLR cameras, the atx-i 17–35mm F4.

If the specs of this lens look familiar, it’s because it appears to be a successor to the Tokina 17–35mm F4 AT-X Pro FX lens (also available for Canon EF and Nikon F mounts). The new lens is constrcuted of 13 elements in 12 groups, features an aperture range of F4 through F22 and has a minimum focusing distance of 28cm (.9ft).

The lens features Tokina’s exclusive One-Touch Focus Clutch Mechanism, which makes it easy to switch between autofocus and manual focus by pushing and pulling the lens barrel. On the topic of autofocus, the lens uses Tokina’s GMR sensor and Silent Drive-Module (SD-M) motor.

Other features include a 1:4.82 macro ratio, an 82mm front filter thread and ‘moisture protection,’ although Tokina doesn’t elaborate on the extensiveness of its weathersealing specifications.

The Tokina 17–35mm F4 atx-i lens will be available for Canon EF and Nikon F mounts and available to pre-order for $600 (Adorama). The first units are expected to ship on December 11.

Kategorier: Sidste nyt

Nikon teases upcoming super telephoto lenses, 50mm prime with an updated lens road map

Sidste nyt fra dpreview - 20 nov 2020 - 17:05
Click to enlarge. The new 'Micro 50mm' prime is center-left in the bottom row and the two super-telephoto lenses are top-right in the back row.

Nikon has released an updated version of its visual lens roadmap for Z-mount camera systems, revealing silhouettes of three upcoming lenses, including two super-telephoto lenses and one macro prime lens.

While there are eleven total silhouettes, only three of them are new: the ‘Micro 50mm,’ the 400mm S-Line and the 600mm S-line. As you would expect, the silhouettes for the two super-telephoto lenses tower above the rest. Meanwhile, the ‘Micro 50mm’ lens falls halfway between the already-released 24–50mm F4–6.3 and 35mm F1.8 S-Line prime.

Below is another roadmap from Nikon that shows the focal length coverage of current and future lenses:

Click to enlarge.

There’s still no concrete information on expected release dates for thee lenses, so the waiting game continues. But at least we now have visual representations of all the lenses currently on Nikon’s Z-mount lens roadmap and Nikon does say all of the lenses on display ‘will be available by the end of 2022.’

Kategorier: Sidste nyt


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