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On this day: Hasselblad launches first medium format mirrorless

22 jun 2024 - 16:00
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We'd never before seen so much silicon wrapped up in such a small package

Photo: Samuel Spencer

The Hasselblad X1D beat Fujifilm to the market by three months in 2016 to become the first mirrorless medium format camera. It wasn't the first "affordable" (or, at least, sub-$10,000) medium format option: that credit goes to Pentax and its 645D and Z, but it was the first larger-than-full-frame digital camera to be designed as a self-contained ILC with no mirror.

It was built around the same 50MP CMOS sensor as the 645Z, which also underpinned the Fujifilm GFX 50 models, producing some excellent image quality. Hasselblad's modern minimalist design was eye-catching, and the operability improved significantly through a series of firmware updates (though it never offered the mass-market slickness of the GFX models).

One of the factors that allowed the Hasselblad to be so small was the decision to build leaf shutters into all the XCD lenses, rather than having a physical shutter in the camera body. This resulted in a camera that could sync with flashes all the way up to each lens's maximum shutter speed. Though this came at the cost both of higher lens prices and of polygonal bokeh, as the shutter/aperture mechanisms had relatively few blades. This second issue was somewhat resolved by an update that allowed the aperture to be opened a fraction beyond the widest listed value, so that the blades don't intrude on the image.

Click here to see the nearly 200 photos we've published from the X1D

Alongside the X1D came the first series of medium format lenses designed specifically for 44x33mm digital, giving some excellent results (to the point that moiré is a significant risk even when stopped-down to F5.6, given the lack of low-pass filter on the X1D's sensor). It also led to the only instance we've seen of a manufacturer referring to equivalent f-numbers. It's probably no surprise that it would be one of the only companies to solely produce larger than full-frame systems.

We were in the fortunate position to borrow a Hasselblad, Pentax 645Z and Fujifilm GFX 50S at the same time and use them alongside one another, and looked at their comparative strengths and weaknesses. We hope to do something similar with the more refined 100MP cameras from Hasselblad and Fujifilm in the coming months.

Kategorier: Sidste nyt

Our favorite 'natural worlds' pictures: DPReview Editors' Challenge results

20 jun 2024 - 15:00
DPReview Editors' Challenge results

June includes multiple days devoted to celebrating nature, including World Environment Day (June 5), World Oceans Day (June 8) and World Rainforest Day (June 22). In that spirit, we chose 'Natural Worlds' as the theme for our most recent Editors' Choice photo challenge, with over 100 readers submitting entries.

We love seeing your work! Thanks to everyone who submitted. We couldn't call out every image we liked, so we restrained ourselves to a baker's dozen (in no particular order).

If you don't see your work here today, don't despair. We'll soon announce a new Editors' Choice challenge.

Also, a quick reminder to keep comments constructive and civil. These are images submitted by your fellow readers who took the time to share their work. Rule #1: Be nice. That's it, there is no rule #2.

Nature's pastel colors

By: Montage61

Caption: Simplicity and the beauty.

Technical specs: Sony Cybershot DSC-R1 | 1/400 sec | F4.8 | ISO 160

Edits: Basc light adjustments using the Snapseed Android app.

A lone bull under Nebraska skies

By: Jerredz

Caption: A lone bull sits under an amazing sky in Nebraska's Sandhills. This part of the state is incredibly diverse, and although it's rare to find public land, this open range area of the western part of Nebraska is one of those rare locations.

Technical specs: Fujifilm GFX 100S | Fujifilm GF 100-200mm F5.6 | 1/320 sec | F8 | ISO 100

Edits: Contrast, highlights, shadows, whites and blacks.

Cottonwood Pass sunset

By: DaveN01

Caption: Cottonwood Pass sunset.

Technical specs: Pentax K1 | Samyang 24mm F1.4 ED AS IF UMC | 1/60 sec | F22 | ISO 100

Edits: Adjusted lights and shadows.

Pine Siskin

By: GrantsImages

Caption: Supervised by the parents, this was the first day out of the nest for this juvenile Pine Siskin. This pine tree is on our front lawn and my wife and I are able to watch the progress through our front window.

Technical specs: Nikon D850 | Nikon AF-S 300mm F4E PR ED DR | 1/320 sec | F5.6 | ISO 720

Edits: Light sharpening, contrast and clarity adjustments in Lightroom

Beautiful summer

By: Xiaomao

Caption: An Asian green bee-eater in Yunnan, China on June 3..

Technical specs: Sony a1 | Sony FE 600mm F4 GM OSS | 1/2000 sec | F4 | ISO 1600

Edits: List of edits made during post-processing: 1. Color: 3900 2. Toning: +1 3. Exposure: +0.81 4. Contrast: -54 5. High light: +88 6. Shadow: +19 7. White level: +4 8. Black level: +53 9.Clarity: +11 Etc. The photo was taken for an Asian green bee-eater in Yunnan, China on June 3.

Dreamy summer light

By: Dino26323

Caption: Local field UK West Midlands.

Technical specs: Pentax 645D | Pentax 645 150mm F2.8 SMC | 1/1000 sec | F2.8 | ISO 100

Edits: Brightened and darkened Raw to make JPEG from one Raw photo. Added yellow cast to bottom of image.

Red fox fight

By: raptor_photo

Caption: Red fox fight.

Technical specs: Nikon D3500 | 1/600 sec | F6 | ISO 5600

Edits: None listed

Night skies over Colorado

By: DaveN01

Caption: Cottonwood Pass, Colorado.

Technical specs: Pentax K1 | SIrix 15mm F2.4 | 30 sec | F2.4 | ISO 3200

Edits: Single exposure, adjusted lighting, denoise, and some color balancing.

Quiver tree

By: double-vision

Caption: Capture of a quiver tree at sunset in the Namib Desert.

Technical specs: Sony a1 | 35mm | 1/160 sec | F10 | ISO 100

Edits: None listed

Speckled bush-cricket nymph

By: TheDispossessed

Caption: A speckled bush-cricket nymph, photographed in Empingham, Rutland, England.

Technical specs: Olympus E-M1 Mark II | Olympus ED 60mm F2.8 Macro | 1/250 sec | F11 | ISO 200 | Nissin i40 flash with cygnustech diffuser

Edits: Slight contrast and sharpening adjustments.

Abstract nature

By: Minas_Eye

Caption: Banana leaf attacked by Black Sigatoka.

Technical specs: Olympus E-M1 III | Olympus ED 60mm F2.8 Macro | 1/250 sec | F4.5 | ISO 1200

Edits: Cropping and small adjustments in contrast, tone and shadows.

Black and white fern

By: Peter Timmerman

Caption: This fern was shot in our garden in Boekelo, The Netherlands. Camera was set on Monochrome + R-filter & Tone curve H+2 / S+2.

Technical specs: Fujifilm GFX 50S II | Fujifilm GF 120mm F4 R LM OIS WR Macro | 1/420 sec | F8 | ISO 640

Edits: Sharpening and crop

Needletip blue-eyed grass

By: ebaphoto

Caption: Taken while walking In the fields at Schooley's Mountain Park, Long Valley, NJ. The flower head is quite small, about 2 cm. They are easily missed.

Technical specs: Nikon D500 | Sigma 105mm F2.8 EX DG Macro | 1/125 sec | F8 | ISO 125

Edits: Raw processed in Photoshop ACR, adjustments in exposure, contrast, highlights, blacks; 0.5 pixel high-pass sharpening.

Thank you

Thank you to everyone who participated. Seriously, how amazing is it to see our fellow DPReview reader's work? To see all the entries for yourself, head over to the challenge now. The complete shooting specs and gear used for each photo in the challenge platform can also be found in the challenges gallery.

If you couldn't participate in this editors' challenge, keep an eye out for our next one. And, if you have a suggestion for an Editors' challenge theme, let us know in the comments.

Kategorier: Sidste nyt

Alice Camera, the AI-enhanced Micro Four Thirds camera, ready to ship

19 jun 2024 - 16:00
Photo: Photogram

The Alice Camera, a phone-driven Micro Four Thirds camera that creates AI-enhanced images, is about to ship to customers who placed pre-orders.

The camera, which is operated using an app on a smartphone that connects to the main camera unit, is designed to deliver social media-ready imagery without the need for manual editing.

Image: Photogram

It's underpinned by powerful Qualcomm Snapdragon and Google Edge TPU processors. Edge refers to AI algorithms running on the end device, rather than in the cloud. These are tasked with optimizing color, white balance and image brightness to automatically give the polished end image, more like the computational output of a modern smartphone, rather than the relatively neutral photographic representation of most dedicated cameras.

However, unlike a smartphone, the Alice Camera is built around the Micro Four Thirds lens mount, allowing the use of a wide range of lenses, which significantly boost the creativity and flexibility that the camera can offer.

It's built around a Sony-sourced four thirds sized sensor which the company describes as featuring Quad Bayer HDR and 4.63μm pixels. This almost certainly makes it the same sensor used in the Panasonic GH5S, which would give around 10.5MP images. The Quad Bayer design placed four photodiodes under the same filter color of a Bayer array (there are actually around 42 million 2.3μm photodiodes on the chip).

Alternate rows of the sensor can be read out early, giving a reduced exposure to capture highlights, and this data is easily combined with the full exposure given to the other half of the pixels, to deliver wider dynamic range.

As well as stills, the Alice camera can shoot 4K video at up to 30p and 1080 at up to 60p.

Photo: Photogram

Development of the Alice Camera has been delayed by Covid lockdowns and the chip shortages that followed but Photogram says cameras will ship to customers starting with UK customers next month.

Alice Camera, a novel AI-powered Micro Four Thirds camera, Prepares for Delivery

London, UK – June, 2024 – After three years of dedicated development, Photogram is thrilled to announce that the Alice Camera, a novel AI-powered Micro Four Thirds camera that attaches to iOS and Android smartphones, will begin shipping to pre-order customers from 15th July 2024 (see proposed delivery dates below). Designed to streamline high-quality social media content creation for creators, businesses and everyday users, Alice Camera aims to bridge the gap between mirrorless cameras and smartphones. Users will be able to capture content with interchangeable lenses, a smartphone-like user experience and on-camera AI-driven computational photography.

As an official Micro Four Thirds system partner, Photogram has built the Alice Camera to meet the standard's specifications and requirements. Alice Camera utilises the Micro Four Thirds lens mount and a Sony 4/3" HDR, dual-native ISO CMOS sensor. However, what sets Alice Camera apart from other mirrorless cameras is its use of a Qualcomm Snapdragon and Google Edge TPU chips as its primary processing units. These processors accelerate the calculations necessary for running Photogram’s proprietary AI-driven computational photography algorithms and software-based image signal processing (ISP) pipeline directly on the camera. Unlike hardware-based ISPs in traditional mirrorless cameras, Photogram's AI-driven software-based ISP is an innovative approach as it enables additional AI features and improvements to be brought to their existing cameras over time. In 2023, Photogram joined Google Cloud’s program for AI startups in London, where they received credits and mentorship to further train and develop their pipeline, which automates essential functions like white balance, exposure and colour grading.

Alice Camera's smartphone app offers an intuitive design for camera control, file management, and content sharing. Alice Camera OS, a Linux-based camera-specific operating system, allows for over-the-air software updates and open-access development, opening up new creative possibilities. Developers and businesses interested in building their own AI algorithms and custom apps on the Alice Camera platform are encouraged to contact the team.

"We're incredibly excited to finally bring the Alice Camera to the world," said Vishal Kumar, CEO at Photogram. "We set out to build the Alice Camera because we wanted to offer our customers a new type of mirrorless camera built specifically for a new era of content. We’ve developed a fundamentally new engineering paradigm for mirrorless cameras, with significantly novel implementations on hardware, software and with AI algorithms. Alice Camera represents an innovative step forward in how mirrorless cameras are designed and how our users will process, capture and share their experiences. We can't wait to see the amazing content created with the Alice Camera."

The journey to launch was not without its challenges. The COVID-19 pandemic and global lockdowns in 2021 and 2022 caused severe chip shortages impacting Alice Camera’s manufacturing. Further delays arose in 2023 as the product underwent rigorous consumer electronics regulatory testing. Despite these hurdles, Photogram persevered, thanks to the support of its backers and investors. "We are deeply grateful for the belief and patience our community has shown throughout this journey," added Vishal Kumar. "As a new entrant in the camera industry, we hope to bring fresh perspectives. All the difficult development work over the last three years is now done. Now, we’re ready to deliver and start to scale manufacturing. Our journey begins from today… We’re just getting started."

PROPOSED DELIVERY DATES
  • Cameras for the UK will begin shipping from 15th July 2024.
  • Cameras for US, Japan, EU, Australia are scheduled to start shipping from 15th August 2024.
  • Cameras for Canada, France and Rest of the World are scheduled to start shipping from Sept 2024.
Kategorier: Sidste nyt

Nikon Z6III first-look video and sample gallery

18 jun 2024 - 21:25
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During our time with the Nikon Z6III we were able to get out and shoot with the camera in a couple of different situations and with a selection of lenses (though it was a fairly typical Seattle spring day).

We also shot a first-look video, running down the basic specs of the camera and discussing what the camera is.

If you really want to get into the fine detail of what the new camera offers (and there's a LOT), then we'd recommend you read our in-depth initial review. But if you just want a quick introduction, this video should get you up to speed in no time.

Well, two minutes thirteen seconds.

Buy now:

$2497 at B&H Photo$2497 at Adorama
Kategorier: Sidste nyt

Ricoh launches Pentax 17 half-frame fixed lens film camera

17 jun 2024 - 22:00
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Images: Ricoh

Ricoh has revealed the Pentax 17, the half-frame film compact with a manual focus fixed prime lens.

The Pentax 17 has a 25mm F3.5 lens which works out at 37mm equivalent, and derives its name from the horizontal width of the 17 x 25mm frames it captures. The company says the vertical format makes it similar to images shot by smartphones.

It has a manual focus lens that can be set to one of six preset distances, from 0.25m to infinity, indicated with icons on the top of the lens. The company says the lens is based on the design of 1994's Pentax Espio Mini and features three elements in three groups. It features a leaf shutter that gives a circular aperture shape all the way from F3.5 to F16, and gives a shutter speed range from 1/350 sec to 4 seconds, and offers a Bulb mode for longer exposures.

Image: Ricoh

The company says its targeting a younger audience who enjoy the experience of shooting film and will appreciate the cost-savings of shooting two exposures on each 36 x 24mm frame. The 17 will also provide the certainty of a full warranty with good availability of spare parts, which second-hand cameras lack. It will come with a one year warranty and, in the US at least, the option of a second year of coverage.

The camera features magnesium alloy construction and uses a standard CR2 lithium battery to power its flash, light meter and viewfinder indicators.

The 17 will be available from late June 2024 at a cost of $499.95.

Press Release:

Ricoh announces the PENTAX 17 compact film camera

PARSIPPANY, New Jersey, June 17, 2024 — Ricoh Imaging Americas Corporation today announced the highly anticipated PENTAX 17 compact film camera. The PENTAX 17 is a half- frame camera, capturing two 17mm x 24mm pictures within a single 35mm-format (36mm x 24mm) film frame. It produces vertical-format pictures, with similar ratios to those captured by smartphones, for seamless sharing on social media after the film is developed and scans are produced by a film lab.

The popularity of film cameras has grown rapidly in recent years — especially among young photographers — because of the distinctive, somewhat nostalgic experience provided that is so different from using digital cameras. The compound annual growth rate (CAGR) for the global film camera market is projected to be 5.2% through 2030 and a quick search of the hashtag #filmphotography on Instagram pulls up more than 42.6 million posts.

Borne out of the PENTAX Film Camera Project, a concept first announced in December of 2022, the new camera resulted from a close collaboration between Ricoh Imaging and PENTAX experts and younger engineers. The experts shared their vast knowledge and decades of experience in film and imaging technology with the current team members to design a film camera that would allow photographers to express their originality and creativity by leaving some room for manual operation, rather than making it a fully automatic camera.

| Design merges manual operation and ease of use for maximum creative expression |

The design of the PENTAX 17 was inspired by the PENTAX brand’s heritage, incorporating manual operations unique to film photography that are gaining a loyal following in today’s digital world. This includes a selectable zone-focus system, manual film winding, manual film advance lever, and exposure compensation and ISO sensitivity adjustments, each with their own dials. The classic design of the camera body was developed with high-quality materials; the top and bottom covers are made of solid, lightweight magnesium alloy and the 40.5mm filter mounting thread enables the use of a range of filters.

The PENTAX 17 features a newly-developed 25mm F3.5 lens (equivalent to a 37mm lens in the 35mm format). Further building on the PENTAX brand heritage, the lens is based on optics incorporated in the acclaimed PENTAX Espio Mini — which was marketed in 1994 —redesigned to support the half-frame format. The lens is treated with HD (High Definition) coating to optimize the clarity and sharpness of the half-frame photos. In a nod to Ricoh’s rich history in optics and photography, the designers based the lens design on the lens in the RICOH Auto Half – a best- selling half-frame model first marketed in 1962 – incorporating the angle of view and focal length to make casual, everyday picture-taking simple and flawless.

The camera’s zone-focus system is divided into six focus zones that can be selected on the zone focusing ring to capture subjects at a long distance or as close-up as 25 centimeters away in the macro zone. Its bright optical viewfinder features a bright, Albada-type frame finder to facilitate framing a scene as well as a close-up visual field compensation frame to help users more easily compose close-up images. The zone focus marks can be seen directly through the viewfinder to further support composition.

The PENTAX 17 has seven shooting modes to accommodate different applications and scenarios. It automatically adjusts exposure settings based on lighting data collected by its metering sensor. In addition to the Full Auto mode in which all exposure settings are selected by the camera, it provides six other shooting modes including: Slow-speed sync, which is useful in twilight photography; and Bulb, a long-exposure mode useful for photographing nightscapes and fireworks.

The camera supports a wide selection of ISO film speeds and features a note holder on the back cover where the end of the film package can be inserted for at-a-glance confirmation of the film in use, three strap lugs to accommodate both horizontal and vertical suspensions, and compatibility with the optional CS-205 Cable Switch for use in extended-exposure photography in Bulb mode.

| Industry support for PENTAX 17 |

“Film photography has been growing in popularity over the past decade and especially recently! The new PENTAX 17 film camera is going to kickstart an entirely new generation of film shooters,” said Philip Steblay, Cofounder of The Darkroom, an online film developing service. “This terrific new camera will add to the great pleasure and enjoyment of shooting film. The PENTAX analog functionality, film selection process and thinking more carefully about your shots will enhance the fun of photography. This, coupled with the anticipation that comes with waiting for your images to process, adds to the joy of photography. With new cameras and film coming to market the future of film photography looks bright.”

"The PENTAX 17 is a stunning camera, both in form and function,” said Kyle Depew, founder, Brooklyn Film Camera. “Its design is handsome and classic, yet it features elements that are delightfully unique and innovative. It's amazing to see modern PENTAX engineering applied towards a new film camera. We couldn't be more delighted."

“The film photography community is vibrant and growing, and we are thrilled to see Ricoh Imaging recognizing this and creating new products for this market,” said Meredith Reinker, managing partner, Roberts Distributors LP. “Film photography has been growing in popularity over the last several years and supporting this community is supporting a growing industry as well as supporting the arts. We are honored to be partnering with Ricoh to make this camera available through our distribution channel of independent, local and analog-focused businesses. We look forward to watching the analog community embrace this exciting announcement as we all have a shared goal of keeping film photography alive and accessible.”

“This camera has been a reminder to have fun and not take things too seriously,” said Matt Day, photographer. “It’s fun to shoot with, it’s compact enough to carry anywhere, and double the amount of exposures makes it easier to shoot more.”

“Many photographers were first introduced to the joys of photography using a PENTAX film camera. We’re hoping to introduce a new generation to the world of film photography with the PENTAX 17,” said Ken Curry, president, Ricoh Imaging Americas. “It is an ideal model not only for film camera enthusiasts who have enjoyed film photography for years, but also for photographers who are excited about trying film photography for the first time.”

| Pricing and Availability |

The PENTAX 17 will be available late June at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $499.95.

| Main features | 1. Half-size format

The PENTAX 17 features the half-size format, in which two 17mm x 24mm pictures are captured within a single 35mm frame (36mm x 24mm). It also employs a manual film advance lever. When holding the camera in traditional orientation, the PENTAX 17 captures vertical-format pictures, similar to the familiar images captured by smartphones, which are commonly used today for picture-taking.

2. Manual camera operation unique to film cameras

The PENTAX 17 features a manual film-winding mechanism based on those incorporated in PENTAX-brand single-lens reflex (SLR) film cameras. The film advance lever lets the user enjoy the film winding action and a wind-up sound after every shutter release. An easy-loading system is designed to prevent film-loading errors, especially for first-time film camera users. It also features other mechanisms unique to film cameras, such as manual film rewinding operation using the rewind crank; exposure compensation via the exposure compensation dial; and ISO sensitivity setting via the ISO sensitivity dial.

3. Newly developed lens combining time-proven optics and the latest lens coating technology

The PENTAX 17 features a newly developed 25mm F3.5 lens (equivalent to a 37mm lens in the 35mm format). Based on the optics incorporated in the acclaimed PENTAX Espio Mini (marketed in 1994), it has been redesigned to fit perfectly in the half-size format. It is also treated with HD (High Definition) coating — a highly acclaimed multi-layer coating — to optimize the clarity and sharpness of half-size pictures. Using the lens used in the RICOH Auto Half (a best-selling half- size model first marketed in 1962) as a reference, the angle of view and focal length were selected to make casual, everyday picture-taking simple and flawless.

4. Zone-focus system to switch the in-focus area via simple selection of zone marks

From close-ups to long distances, the PENTAX 17’s zone-focus system can handle it all. The system is divided into six focus zones, indicated by marks that signify each zone. All the user has to do to set the camera’s focus is select the mark best suited for the subject distance on the zone focusing ring. In the Macro focus zone, the user can capture a close-up photo from approximately 25 centimeters away. The hand strap (included as a standard accessory) lets the user measure subject distance more accurately.

5. Bright optical viewfinder for real-time confirmation of a subject image

The PENTAX 17’s optical viewfinder features a bright, Albada-type frame finder that helps to facilitate framing a scene. It also comes with a close-up visual field compensation frame to help the photographer more easily compose close-up images. It is possible to check the zone marks directly through the viewfinder.

6. Seven shooting modes to accommodate different applications

The PENTAX 17 automatically adjusts exposure settings based on the lighting data collected by its metering sensor. In addition to the Full Auto mode in which all exposure settings are selected by the camera, it provides six other shooting modes, including Slow-speed sync, which is highly useful in twilight photography; and Bulb, a slow-shutter speed mode that comes in handy for photographing nightscapes and fireworks. The PENTAX 17 also features an independent exposure compensation dial, which allows the user to swiftly shift the exposure level to accommodate different types of subjects or express the user’s creative intentions.

7. High-quality body with meticulous attention to every detail

The PENTAX 17’s body has a classic design, reminiscent of traditional film cameras. The top and bottom covers are made of a solid but lightweight magnesium alloy to optimize the camera body’s rigidity. The 40.5mm filter mounting thread allows the user to mount a range of filters, which are available for purchase on the market. With meticulous attention paid to every single detail, the PENTAX 17 is designed to be a joy to own.

8. Other features
  • A wide selection of ISO film speeds (50, 100, 125, 160, 200, 400, 800, 1600 and 3200)
  • Note holder on the back cover, into which the end of the film package can be inserted for an at-a-glance confirmation of the film in use
  • Three strap lugs to accommodate horizontal and vertical camera suspensions, to best suit
    the user’s shooting style
  • Compatibility with the optional CS-205 Cable Switch, which comes in handy for extended-exposure photography in the Bulb shooting mode
Pentax 17 Specifications Type Half-frame, behind-the-lens shutter 35mm film camera Frame Size 24×17mm Compatible Film 35mm film: ISO 50, ISO 100, ISO 125, ISO 160, ISO 200, ISO 400, ISO 800, ISO 1600, ISO 3200 Sensitivity Setting Manual settings to match the film Film Loading Easy loading Film Advance Manual winding using wind-up lever (with 130-degree stroke and 35-degree stand-off angle) Film Rewind Manual rewinding using rewind crank. Mid-roll rewinding possible. Lens Lens HD PENTAX Lens Focal Length 25mm (equivalent to 37mm in 35mm format) Maximum Aperture F3.5 Lens Configuration 3 elements in 3 groups Angle of View (Diagonal) 61° Maximum Magnification Approx. 0.13x (at 0.25m) Filter Diameter φ40.5mm Viewfinder Type Albada bright-frame viewfinder Viewfinder Indication Composition frame, Close-distance composition frame
Zone focusing setting can be confirmed through the viewfinder Viewfinder Outer Right Blue lamp display: Warning display, Orange lamp display: Flash display Focusing Type Zone-focusing (Manual operation) Switchover Distance 6 zones (0.25m, 0.5m, 1.2m, 1.7m, 3m, ∞) (0.82ft, 1.7ft, 4ft, 5.6ft, 10ft, ∞) Exposure Control Metering Type Partial metering Metering Range EV2.5 to 16.5 (ISO100) ±2EV (1/3EV steps) Exposure Compensation ±2EV (1/3EV steps) Shooting Mode (Exposure) Full auto (Pan focus program AE, Auto flash), Standard (Program AE, Flash off), Slow-speed shutter (Slow-speed program AE, Flash off), Maximum aperture priority (Maximum aperture priority program AE, Flash off), Bulb (Bulb, Flash off), Daylight sync (Program AE, Flash on) , Slow-speed sync (Slow-speed program AE, Flash on) Shutter Type Program AE electronic shutter Shutter Speed 1/350 to 4 seconds, Bulb Flash Built-in Flash Guide Number approx.6 (ISO100・m) Emission Type Shooting mode interlocking system Flash Charging Time Approx. 9 seconds Charging Status Can be checked with the orange lamp at viewfinder outer right. Charging status: blinking Charging completion status: lighting Power Source Battery Type One 3V lithium battery (CR2), Not compatible with rechargeable CR2 type batteries Battery Life Approx. 10 cartridges* when using 36 exposure film
(using fresh battery under the condition of 50% flash shots)
* According to the result of RICOH IMAGING in-house testing. External Terminal Cable Switch Terminal Compatible with cable switch CS-205 (optional) (φ2.5mm) Dimensions and Weight Dimensions Approx. 127.0(W)×78.0 (H)×52.0(D)mm / 5.0(W)×3.1(H)×2.0(D)inches (excluding protruding parts) Weight Approx. 290g / 10.2oz (without film and battery) Operating Environment Temperature 0 to 40°C Humidity 85% or less (the environment must be free of condensation) Included Items Package Contents Lens cap O-LC40.5, Strap O-ST191, Lithium Battery CR2 Optional Accessories Cable Switch CS-205
Kategorier: Sidste nyt

Nikon Z6III initial review

17 jun 2024 - 14:01
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The Nikon Z6III is the company's third-generation full-frame mirrorless camera, bringing a faster 24MP sensor that boosts the autofocus and video capabilities of this stills/video hybrid.

Key specifications
  • 24MP "Partially Stacked" CMOS sensor
  • 14fps with mech shutter, 20fps e-shutter up to 1000 Raw files
  • Up to 60fps JPEG in full resolution, 120fps with APS-C crop
  • In-body image stabilization rated at up to 8.0 stops
  • 5.76M dot EVF with high brightness and wide color gamut
  • Fully articulated 3.2" 2.1M dot rear screen
  • 6K/60p N-Raw video, 6K/30p ProRes Raw
  • 5.4K/60p H.265 video
  • Pre-burst capture, pixel-shift high-res mode

The Nikon Z6III will be available from late June at a price of $2500. This is a $500 increase over the previous Z6 models but brings it into line with the likes of Canon's EOS R6 II and Sony's a7 IV, with which it directly competes.

Buy now:

$3099 at Amazon.com$2497 at B&H Photo$2497 at Adorama Index: What's new 24MP "Partially Stacked" CMOS sensor

Nikon's image of the Z6III's sensor, showing the extensive readout circuitry above and below the sensor.

Image: Nikon

The sensor at the heart of the Z6III is responsible for much of what the new camera brings. Nikon uses the term "Partially Stacked" to suggest it has some of the performance benefits of the Stacked CMOS chips it uses in its Z8 and Z9 models, but without the associated cost.

Nikon hasn't given us precise detail but it appears the readout and analog-to-digital conversion circuitry around the edge of the chip is built-up, allowing it to be both more sophisticated and closer to the pixels themselves, delivering faster readout.

The result is that the camera can read out its sensor fast enough to deliver full-width 6K video at up to 60p in N-Raw mode and a flash sync speed of 1/60 sec. This means it must be able to read the entire sensor in less than 1/60 sec. This is around the same speed as the Canon EOS R6 II, but in 14-bit sensor readout mode, rather than 12-bit. It can shoot full-res JPEGs (presumably from 12-bit readout) at up to 50fps.

However, that maximum sync speed of 1/60th is around a quarter of the speed of true Stacked CMOS sensors and not a vast leap forward from the previous generation of sensors. It should improve AF performance and video capabilities but won't deliver the blisteringly fast performance of the likes of the Z8.

Improved AF

Along with the faster sensor, the Z6III also gains the autofocus improvements seen in Nikon's recent models, including 3D Tracking and subject recognition. The company says AF is up to 20% faster than it was in the Z6 II, and that the performance is comparable with the Z8 and Z9.

On top of this, the camera can focus at down to –10EV without you having to engage the Starlight AF mode (though it's worth noting that this figure is predicated on an F1.2 lens being attached). It also gains most the subject recognition modes from the Zf, though lacks the dedicated bird detection mode that the Z8 and Z9 have recently gained.

Subject detection modes
  • People
  • Animals
  • Vehicles
  • Airplanes
  • Auto


(Dogs, cats, birds)
(Cars, motorbikes, trains, airplanes, bicycles)

These all reflect a significant improvement over the Z6 II. The 3D Tracking system resembles those on Nikon's DSLRs: pick an AF point and the camera will follow whatever's under that point when you hold the shutter half depressed or the AF-On button. As soon as you release it reverts to your previously chosen position. Unlike the Z6 II's system you don't need to press a button to cancel tracking and it doesn't revert to the center.

But as well as this increased ease-of-use, the interface controls a much more effective and reliable tracking system that's much less likely to lock onto the wrong thing or just lose it completely (which was not uncommon, especially in movie mode, on the previous generation of cameras). Add to this the camera's ability to recognize a series of subjects near your chosen AF point and the Z6 III should be much quicker and easier to work with than previous mid-level Nikons.

Video

The faster sensor sees the Z6III's video capabilities gain a significant upgrade, compared with its predecessor. It's too soon for Nikon's purchase of cinema camera maker RED to have played into this camera's development, but it relieves any uncertainty around the inclusion of onboard capture of both N-Raw and ProRes Raw video formats.

All of the codecs offer both UHD 4K and a higher-resolution capture mode, all of which use the full width of the sensor. The Raw modes offer 6K or 4K capture, while the gamma-encoded modes (ProRes 422, H.265, H.264) offer 5.4K or 4K recording.

Codec Resolutions and max frame rates N-Raw 6K/60p
UHD 4K/60p ProRes RAW 6K/30p
UHD 4K/60p ProRes 422 5.4K/60p
UHD 4K/60p H.265 5.4K/60p
UHD 4K/60p H.264 UHD 4K/30p

Like the Z8, the Z6III includes shooting aids such as waveforms, zebras and focus peaking.

The Z6III also becomes the first Nikon to accept a line-level input over its mic socket. It's also compatible with Atomos' AirGlu, a Bluetooth-based Timecode sync system.

Additional functions

The Z6III also gains all the other functions that have been added to Nikon cameras since the launch of the Z6 II, including pre-burst capabilities and multi-shot high resolution modes.

It also has the image stabilization system that centers its correction on your chosen AF point. This is particularly valuable if you're focused in the corners of wide-angle shots, where the required pitch and yaw correction is significantly different from that needed at the center of the image.

In addition, like the Zf, the Z6III can use its subject recognition system even if you're in manual focus mode. This means that engaging magnified live view will punch in on your subject's eye, as you check focus, rather than you having to navigate around the scene to find it.

Finally, the Z6III will be compatible with a "Flexible Color" tool that will be added to Nikon's NX Studio software, which provides an enhanced set of color tools for creating custom Picture Control color modes to install on the camera.

Cloud access

The Z6III will be the first Nikon camera to use the Nikon Imaging Cloud service. This will fulfill a series of functions. At its most basic it'll be a service to which images can be uploaded and then sent on to other storage and social media services (rather than the camera itself having to know how to connect to multiple services).

It'll also be a source for "Imaging Recipes," which are camera settings intended for taking specific types of image, created with the help of Nikon's sponsored creators. There will also be "Cloud Picture Controls" presets that can be downloaded. This service isn't available yet, so we won't be able to assess its usefulness until it is.

How it compares

The $500 price hike brings the Nikon directly into line with the MSRPs of its two most comparable competitors: Sony's a7 IV and Canon's EOS R6 II. All three cameras are highly capable stills and video machines with strong AF systems. We've included the more expensive Panasonic DC-S5II X here because its video capabilities and price are closer to those of the Nikon.

Nikon Z6III Canon EOS R6 II Sony a7 IV Panasonic Lumix DC-S5II X Nikon Z6 II MSRP $2500 $2500 $2500 $2200 $2000 Sensor type "Semi-stacked" BSI CMOS Dual Pixel AF FSI CMOS BSI CMOS BSI CMOS BSI CMOS Resolution 24MP 24MP 33MP 24MP 24MP Maximum shooting rate 20fps (Raw)
60fps (JPEG) 40fps (12-bit Raw or JPEG) 10 fps (lossy Raw) 30fps (e-shutter)

14fps
10fps (14-bit Raw) Rolling shutter rate (ms) ∼14.6ms
(14-bit) ∼14.7ms
(12-bit) ∼67.6ms (14-bit) ∼51.3ms
(14-bit) ∼50.8ms (14-bit) Video resolutions

6K (Raw)
5.4K
UHD 4K

6K (Raw over HDMI)
DCI 4K
UHD 4K UHD 4K

6K
5.9K
5.9K (Raw over HDMI)
DCI 4K
UHD 4K

UHD 4K Uncompressed video N-Raw
ProRes RAW Over HDMI Over HDMI Over HDMI — Viewfinder res/ magnification/ eye-point 5.76M dot OLED/ 0.8x/
21mm

3.69M dot OLED/
0.76x/
23mm

3.68M dot OLED/ 0.78x/
23mm 3.68M dot OLED/
0.78x/
21mm 3.69M dot OLED/ 0.8x/ 21mm Rear screen 3.2" fully-articulated 2.1M dot 3.0" fully articulated
1.62M dot 3.0" fully articulated
1.04M dot 3.0" fully articulated
1.84M dot 3.2" tilting 2.1M dot Image stabilization Up to 8.0EV Up to 8.0EV Up to 5.5EV Up to 5.0EV
Up to 6.5EV with Dual IS 2 lens Up to 5.0EV Media types 1x CFe B
1x UHS II SD 2x UHS II SD 1x CFe A / UHS II SD
1x UHS II SD 2x UHS II SD 1x CFe B
1x UHS II SD Battery life EVF / LCD 360 / 390 320 / 580 520 / 580 370 / 370 360 / 420 Dimensions 139 x 102 x 74mm 138 x 98 x 88mm 131 x 96 x 80 mm 134 x 102 x 90mm 134 x 101 x 70mm Weight 760g 670g 659g 740g 705g

What the table can't capture is the subtle differences in performance between these models, which is increasingly what it comes down to, in this most competitive of classes. Our early impressions are that the Z6III matches the Canon and Sony in terms of autofocus tracking performance and usability, wheres the Panasonic lags a little and the Z6 II feels like it's left significantly behind.

Likewise the new Nikon and the Canon stand ahead in terms of video performance, as they offer faster video capture with less rolling shutter, especially compared with the rather slow Sony. We'll need to shoot the Nikon more to know whether it can outdo the Canon's video AF, which isn't the most dependable.

The stills stabilization figures do nothing to convey the smoothness of video stabilization, either, with the Panasonic doing particularly well in this regard. Increasingly, choice and availability of lenses will be the critical deciding factor for a lot of people.

Body and handling

The Z6III looks, at first glance, a lot like the existing Z6 and Z7 models, with a familiar low-height camera with significant hand grip and viewfinder hump extending from it. But if you put them side-by-side you find that the Z6III is a very different body, even if it uses the same styling cues.

It's a larger camera than its predecessors and heavier. However, it's much closer in size to them than it is to the Z8. It's wider and thicker but maintains a solid, comfortable grip. The button positions are essentially unchanged, compared to the previous cameras, with twin function buttons on the front and an AF joystick on that back.

Viewfinder The Z6III is a larger, heavier body than its predecessor, but the controls are essentially the same. The Playback and drive mode buttons have been swapped, but that's the most significant change. There's also a button on the top plate to illuminate the settings panel.

The Z6III becomes the first Z-series camera to move beyond the 3.69M dot panels used so far. It sees a jump to 5.76M dots but, more importantly, also gains a significant brightness boost. The panel can go as bright at 4000nits and can cover the full gamut required for HLG.

You'll need to manually push it to its brightest setting to get this full brightness but it means the camera can represent true HDR capture when shooting in HEIF mode, and generally give a viewfinder that differs less in brightness, relative to the real world.

Articulated rear screen

The Z6III becomes the first mid-range Nikon to gain a fully-articulated screen, rather than the tilting panels that the previous models have had. It's a 3.2" LCD panel with 2.1M dots.

The hinge is very close to the camera's (full-sized) HDMI port and only a little in front of the mic and headphone sockets, so expect it to be a little awkward to use if you've got a lot of things plugged into the side of the body.

Battery

The Z6III uses the same EN-EL15c battery as its predecessor, and is rated as delivering a similar number of images. In standard mode it is rated to give 390 shots per charge if used via the rear LCD, and 360 shots through the viewfinder. Move into power saving mode and these numbers increase to 410 and 380 shots per charge, respectively.

As always, these numbers tend to significantly under-represent the number of shots most people will achieve. Getting twice the rated figure isn't unusual, and more if you shoot a lot of images as bursts.

A battery grip with vertical controls and space for two, hot-swappable, batteries has been created. The MB-N14, which will be available in summer 2024, has been designed so that it's backward compatible with the Z6 II and Z7 II. This grip displaces the internal battery, meaning you end up with two batteries in total. It has its own USB-C socket for charging the batteries even with the grip detached.

Initial impressions

By Richard Butler

The Z6III closely resembles the Z6 II (and Z7 II, pictured), but is slightly deeper, and has a larger top-plate settings panel.

The dullest possible reaction to the Z6III would be to take a quick look and conclude it's all about video. Because, while there are plenty of video improvements, the Z6III is also a much better stills camera than we've seen from the company at this level. After the rather subtle refresh of the Z6 II, the III represents a much more significant step forward.

Admittedly, the video improvements are easier to spot. Internal Raw video, a full-sized HDMI socket, that fully-articulating LCD, waveforms, full-sensor 4K and 6K/60p: these collectively move Nikon from bringing up the rear of this class to arguably leading it. It's striking that this mainstream class of cameras now offers the kinds of capabilities you'd previously have found only in dedicated video cameras like Panasonic's GH series.

Part of this feature set has trickled down from capabilities developed for the Z9 but a lot of it comes from the new, faster sensor. And that faster sensor is a benefit to stills shooters, too.

The faster shooting rates are the most obvious sign of this, but the autofocus is also improved. The addition of 3D Tracking and Subject Recognition make the system more powerful and quicker to use, but according to Nikon the faster readout also means the Z6III will outperform the Zf, which has the same processor and interface.

But the improvements for photographers go beyond the performance boost: the higher-resolution viewfinder that can more closely match the brightness of the real world, and can better preview HDR shooting is a major benefit for photographers. Then there's the addition of options such as pre-burst capture and the multi-shot high-res mode, for those who find them useful.

The Z6III doesn't (at launch, anyway), have the standalone 'Bird' detection mode that has been added to the Z8 and Z9, but it can detect them in its Animal mode.

Nikkor Z 100-400mm F4.5-5.6 VR S with Z TC-1.4 | ISO 1250 | F7.1 | 1/640
Photo: Richard Butler

And for every photographer disappointed about the move to a fully articulating rear screen, there may be another who appreciates this as being the only camera in this class to have a top-plate settings display. Nikon has made the camera a little larger but it hasn't spoiled the ergonomics that we've always rather liked.

It's interesting to look back ten years to the launch of Nikon's D750 DSLR, a camera that seemed to offer everything a keen enthusiast photographer would want. Image quality hasn't improved radically since that point: we'd expect the Z6III's high ISO performance to be a little better, as the D750 pre-dates dual-gain chips, but it won't be a radical difference. But everything else is unrecognizably better. Modern lenses are sharper and more consistent, autofocus is quicker, more precise and easier to get the most out of, the Z6III is more compact yet will merrily outperform the D750's pro-sports contemporary, the D4S, in speed and AF while showing less viewfinder blackout. And that's before we even consider what happens when you press the red REC button.

It would absolutely be possible to take this photo using a Nikon D750, with enough practice and patience, but the Z6III makes it significantly easier.

Nikkor Z 100-400mm F4.5-5.6 VR S with Z TC-1.4 | ISO 450 | F8.0 | 1/500
Photo: Richard Butler

I'll admit that, having seen how much Nikon had squeezed out of the existing sensor with the Zf, I thought the Z6 III might simply be a repackaged version of that camera, especially as Panasonic's S5 II twins also continue to rely on that same chip. But the Z6III is much more ambitious, and something that brings Nikon into serious contention in terms of both specs and performance, in what's probably the most competitive sector of the market.

Buy now:

$3099 at Amazon.com$2497 at B&H Photo$2497 at Adorama Pre-production sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

All images taken using a pre-production Z6III, from which we can only publish the out-of-camera JPEGs.

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Kategorier: Sidste nyt

DPReview Rewind: Nikon D1, the first in-house DSLR

15 jun 2024 - 09:00
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The Nikon D1 was the first DSLR developed in-house by a camera maker and the first to generate JPEGs internally.

Photo: Phil Askey

In 1999, you could already buy an F-mount DSLR: Kodak had been selling modified Nikon SLRs since the DCS100 in 1991. But at the turn of the century, its prime offering was still a rather inelegant combination of a Nikon F5 film camera and a bolted-on digital imaging unit called the Kodak Professional DCS-620.

The camera Nikon revealed on June 15th 1999 was arguably the first ground, up digital SLR: still borrowing heavily from the F5 and F100 film models, but clearly designed as a coherent whole. Everything was crammed into a conventional two-grip professional body of the kind that's still made today.

The D1 had a recommended retail price of $5,500, body only, meaning it cost around half as much as the DCS-620. And its APS-C CCD boasted 2.62 megapixels, to the Kodak's 1.99MP. It was also the first DSLR to natively shoot JPEG: another feature that, for better or worse, is still recognizable.

DPReview founder Phil Askey got his hands on an early sample around three months after this announcement, but his (and the site's) move from Singapore to London caused a significant, and understandable, delay in the review.

By the time he was able to complete his write-up, the Nikon had serious competition, not from Kodak but from Canon's $3000 EOS D30 with its 3.2MP CMOS sensor and single grip design, and from the Fujifilm S1 Pro, which was another Frankencamera, grafted into Nikon N60/F60 body but promising 6.13MP images from its 3.07MP Super CCD sensor, at a cost of $4000.

Even before these players entered the market, Phil noted in his review that he'd spoken to Kodak employees who seemed "blasé" about the threat that the D1 represented. Quarter of a century later and Kodak's only presence in photography is via companies licensing its name.

Even in the light of the new contenders released since its launch, DPReview considered the D1, with its "ultra-fast AF," to be "the digital tool for professional photographers." After we'd explained the impact of the APS-C sensor on full-frame lenses.

Read our original Nikon D1 review

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Kategorier: Sidste nyt

Nikon launches repair manuals and parts portal for do-it-yourself fixes

14 jun 2024 - 21:35
Screengrab: Nikon USA

Nikon USA has added a "Nikon Parts" section to its website, selling components and tools to allow at-home repairs of its products. So far the site only includes the repair manual and parts for the Nikkor Z 28-400mm F4-8 VR lens, but it seems reasonable to assume the company hasn't got to all this effort for a single product. Two laser rangefinders for golfers are also supported.

This is a significant volte-face for the company, which previously stopped selling spare parts to independent service companies, let alone individuals. We've contacted Nikon USA for comment but pending that, have to wonder whether this change of heart has been prompted by European right-to-repair rules, which have recently been adopted to make it easier for consumers to repair their own devices.

Visiting the site requires you to acknowledge the following warning:

"Please note that Nikon does not provide customer support or assistance for how to repair your product.

Please also note that an incorrect repair performed by you or an unauthorized repair provider may affect your product’s limited warranty and/or cause an increase in the fee if you request service from an authorized Nikon service center.

Damages caused by repairs performed by persons other than authorized Nikon service technicians are not covered by any Nikon warranties. Such damage may cause future repairs to be subject to out-of-warranty costs or may render your product ineligible for future repairs by Nikon.

Failure to follow the repair instructions in a Nikon repair manual or use appropriate Nikon parts and tools may damage the product or affect the product’s functionality, and may also cause safety issues and could lead to personal injury, death, or property damage.

Nikon shall not be liable for any damages, injuries or other liabilities to the product, any person, or any property which occurs as a result of repair, diagnosis, maintenance, or modification performed by you or an unauthorized repair provider, including but not limited to, any indirect, incidental, special or consequential damages; any loss of data, privacy, revenue, or profits; or any inability to use, or reduced functionality of, the product."

But, before you get your hopes up about fixing your own gear on the cheap, it's worth noting that the repair manual for the 28-400mm F4-8 VR lists six different types of lubricant as being necessary "tools" for servicing the lens. These lubricants, whose composition is not detailed, cost between $55.12 and $261.20 per bottle (size unspecified). So it still might make more sense to find a local repair house that's already got all the necessary supplies.

Via: PetaPixel

Kategorier: Sidste nyt

Panasonic Lumix DC-GH7 initial impressions video

13 jun 2024 - 16:00
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In the first of a new video format, editor Dale Baskin talks us through his first impressions of the Panasonic GH7.

You can read more about the camera here, in our Panasonic Lumix DC-GH7 initial review.

Rather than detailing what's new, as we'd typically do in a launch video, here Dale tries to place the GH7 and what it offers in context. This is our first video of this type and we have plans to add more in-person footage for future instances, but please let us know what you think of the concept, and of the GH7, in the comments below.

Buy now:

$99 at Amazon.com$2198 at B&H Photo$2198 at Adorama
Kategorier: Sidste nyt

Insta360 GO 3 S: Insta360's tiniest action camera goes 4K

13 jun 2024 - 15:00
Image: Insta360

Insta360 has announced the GO 3S, an updated version of its diminutive GO 3 action camera.

Like the previous version of the camera, the GO3S nests inside an 'Action Pod' that serves as a housing, remote control, and charger for the camera, along with a 2.2" touchscreen. The camera can be used when mounted in the Action Pod or separately.

The camera's primary upgrade is the addition of 4K video, up from 2.7K video on the original GO 3S. There's also a new interval video mode that lets you set the camera to capture clips at custom intervals and lengths. Clips can be automatically downloaded to your smartphone, and the Insta360 app's Auto Edit function will AI combine your clips into a video, complete with music.

Other improvements include a more realistic picture with less distortion and straighter edges, and slow motion at either 200fps (1080p) or 100fps (2.7K). The company describes the camera as "Dolby Vision-Ready" but didn't provide additional details.

Image: Insta360

The GO 3S is also compatible with Apple's 'Find My' feature, ensuring that you can track it down if you misplace the camera with the Find My app. It's waterproof to 10m (33 ft.) compared to its predecessor's 5m rating. You can also use gestures to start and stop video or to take a photo.

The GO 3S ships with several accessories: the Magnetic Pendant allows you to wear the camera for a first-person view, the Easy Clip can clip to a hat or pet collar, the Pivot Stand enables you to mount the camera in a fixed location, and a new lens guard is designed for improved image quality.

The Insta360 GO 3S comes with two storage options: a 64GB model will retail for $399, and a 128GB model will retail for $429. The standard bundle includes the magnet pendant, easy clip, pivot stand and lens guard. The camera is available in two colors, black or white.

Meet Insta360 GO 3S: Capture Every Moment with a Tiny 4K POV Camera

Insta360 is proud to announce a major addition to its tiny mighty GO camera series: Insta360 GO 3S. The thumb-sized camera retains GO 3's form factor while packing in several key upgrades–most notably–stunning 4K video resolution. Other improvements include a new Interval Video mode for fully automatic hands-free shooting, compatibility with the Apple Find My network to locate GO 3S if it gets lost, native waterproofing to 33ft, improved accessories, and much more.

With a rugged, magnetic body that weighs just 1.4oz (39g), wear it to shoot first-person POVs completely hands-free, or mount it anywhere with in-the-box accessories for endless creative angles that are impossible with bigger, bulkier cameras. Whether you're traveling, hitting the trails or hanging with your kids, GO 3S offers a way to capture your life and stay in the moment.

Insta360 GO 3S is available to order worldwide from June 13, 2024, via Insta360.com, Amazon and select retailers, starting at US$399.99.

4K video and major image quality enhancements.

Still tiny, now mightier! GO 3S's 4K30fps capture transforms its image quality, producing videos that are noticeably sharper, clearer, and crisper. Powered by an enhanced chip with 50% more CPU computing power and a new wide-angle lens, it offers double the amount of pixels compared to 2.7K. All your family memories, unforgettable trips, or creative clips, there to cherish forever in lifelike detail.

The image quality out of GO 3S has gone up a level in other areas, too:

  • New MegaView FOV - Gives a more realistic look with less distortion and straighter, cleaner edges.
  • Dolby Vision-Ready - Greater dynamic range and enhanced details thanks to this new HDR technology.
  • Slow Motion Upgrades - Make those highlights ultra smooth with up to 200fps at 1080p or 100fps at 2.7K.
Automatic shooting and AI editing for effortless content creation.

Imagine you could capture moments throughout your day or activity without ever touching the camera—the new Interval Video mode lets you do just that! Simply set how often to shoot and the length of each clip, and GO 3S will automatically power on and shoot a series of clips. You get to live in the moment and have the memories to look back on and share.

Turn on GO 3S's new Instant App Preview (iOS only) and you'll get a notification sent to your phone when you finish shooting, ready to open and start editing with just a tap.

And if you don't like editing or don't have the time, try the Auto Edit function in the Insta360 app and let AI combine your clips into one epic video, on beat to music!

Hands-free POV, creative angles, and more.

Just like GO 3, capturing life with GO 3S really is effortless. The super lightweight camera makes hands-free POVs incredibly easy—simply wear it on your shirt or hat and forget it's even there. This discreet filming setup is also great if you don't feel comfortable using a bigger camera in public or don't want to carry one around all day.

Mounting in classic spots like a helmet, handlebars, or on your backpack is far easier with a camera this size, and the magnetic body opens up a world of creative mounting options and angles.

The Action Pod is unchanged from GO 3 and acts as an all-in-one housing, remote control, and charger for GO 3S. Whether shooting with the camera inside the Action Pod or mounted separately, you can preview your shots on the 2.2" flip touchscreen. The magnetic mounting mechanism fits both the camera and Action Pod, so the same accessories can be used no matter how you shoot.

From the calmest walks in the park to your energetic pups' perspective, Insta360's FlowState Stabilization and Horizon Lock will always keep your footage super smooth and level.

So what else is new?

With a series of useful upgrades, GO 3S offers an even smoother user experience:

  • Compatible with Apple Find My - Misplaced your camera? Don't sweat it. Track it down using the Apple Find My app so you never lose your awesome footage (or camera!).
  • Easy Switch - Change the aspect ratio on the fly. Simply twist the camera to go from horizontal to vertical shooting in seconds.
  • Waterproofing to 33ft - Your tiny diving companion now goes deeper, all the way to 33ft (10m), compared to 16ft with GO 3.
  • AI Gesture Control - If the camera's mounted out of reach, use hand gestures to start/stop shooting or take a photo for true convenience.
Included accessories and an all-new Quick Reader.

For truly effortless mounting, GO 3S comes with several free accessories to help you get the most from your camera, with some handy upgrades from the GO 3 versions:

  • Magnet Pendant - Snap on for easy first-person views. Perfect for kids to wear! Now with improved heat dissipation for a more comfortable experience.
  • Easy Clip - Clip on your cap or your pet's collar for awesome angles and fresh perspectives. Here, we've improved the magnetic strength and even made it compatible to attach to the Magnet Pendant for customized angles.
  • Pivot Stand - Stick it anywhere and capture unique angles. It now works on slightly curved surfaces, with an attachment to keep the cover and base together so they don't get lost.
  • Lens Guard - New curved design for better image quality.

The new multi-purpose Quick Reader allows you to rapidly back up your footage to a microSD card while charging the camera at the same time, leaving you with freed up camera memory and a boosted battery to carry on shooting! It also enables direct editing on your phone without downloading the files.

Easy editing.

Time to check out your GO 3S footage? With App Background Downloading, keep using your other phone apps as normal, and you'll get a notification when the files are ready.

From there, access the Insta360 app's powerful AI editing features to automatically edit your best clips into ready-to-share reels, or go manual with a full editing suite.

For runners and riders, try overlaying data like GPS, speed, and power from your Garmin device or Apple Watch in your video, with a choice of interactive stats dashboards.

Available now.

Insta360 GO 3S is available for purchase globally from June 13. The Standard Bundle includes the camera and Action Pod, plus a Magnet Pendant, Easy Clip, Pivot Stand, and Lens Guard. Two storage options are available with a 64GB and 128GB model, priced at US$399.99 and US$429.99 respectively, in a choice of Arctic White and Midnight Black colors.

For GO 3 users looking to upgrade, GO 3S is compatible with the GO 3 Action Pod, and there's the option to purchase GO 3S as a standalone camera (no Action Pod or accessories) for just US$239.99 or US$269.99 (64 or 128GB versions).

You can secure your GO 3S directly from Insta360's official website or via platforms such as Amazon and select authorized retailers.

Kategorier: Sidste nyt

Tamron announces 50-300mm F4.5-6.3 Di III VC VXD tele zoom

12 jun 2024 - 22:05
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Tamron has released the 50-300mm F4.5-6.3 Di III VC VXD, a mid-priced, stabilized telephoto zoom for full-frame Sony E-mount mirrorless cameras.

The 50-300mm is designed to be more flexible than the traditional 70-300mm tele zoom, while remaining reasonably lightweight and compact. The new lens is 150mm (5.9") long and 665g (23.5oz), making it 22% heavier than the company's existing (unstabilized) 70-300mm lens but only 1mm longer. It's almost half the weight of Tamron's more ambitious and expensive 50-400mm lens.

Buy now:

$799 at B&H Photo$799 at Adorama

The 50-300mm's design utilizes 19 elements arranged in 14 groups, with two XLD extremely low dispersion elements and two LD low dispersion elements to help control chromatic aberration. The lens uses an internal focus design driven by a voice coil linear motor and offers Tamron's VC image stabilization, though no figure is specified for its effectiveness.

The lens can also be used as a 75-450mm equivalent lens (with consequent increase in depth-of-field and reduction in image-level light capture) on APS-C cameras.

The 50-300mm can focus down to 22cm (8.7") at the wide end of the zoom and 90cm (35.4") at the long end, meaning a reproduction ratio that rises from 1:2 to 1:3.1 as you zoom in.

Price and availability

The 50-300mm is available from June 27th at a recommended price of $799.

TAMRON announces a unique tele lens that zooms from 50mm

June 6, 2024, Commack, NY – Tamron announces the launch of the 50-300mm F/4.5-6.3 Di III VC VXD (Model A069), a unique 6x telephoto zoom lens, starting at 50mm on the wide end for added versatility, for Sony E-mount full-frame mirrorless cameras on June 27, 2024, at $799 USD / $1099 CAD.

TAMRON's new 50-300mm F4.5-6.3 VC zoom provides a wide 50mm starting option in response to user feedback that “the angle of view is somewhat lacking at the wide end” when using a 70-300mm zoom. Although it extends to 300mm at the telephoto end, the 50-300mm F4.5-6.3 VC features an extremely compact size with a length of just 5.9” (150mm) and a class-leading light weight1 of 23.5 oz (665g). In addition, the expert arrangement of special lens elements effectively controls aberrations and produces high image quality throughout the entire 50-300mm zoom range. The lens is equipped with the VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that delivers excellent quietness and agile autofocus performance, while the VC (Vibration Compensation) image stabilization mechanism provides powerful support for every aspect of shooting. At the 50mm wide end, the lens attains an MOD (Minimum Object Distance) of 8.7” (0.22m) for a remarkable maximum magnification ratio of 1:2. This provides excellent close-range shooting performance that allows users to fully enjoy the world of half-macro shooting. The 67mm filter size is common to many TAMRON lenses for mirrorless cameras for greater enjoyment and convenience when carrying multiple lenses — or even just one during everyday excursions. The 50-300mm F4.5-6.3 VC is packed with features that support an enriched shooting experience, such as Moisture-Resistant Construction, Fluorine Coating, and the connector port for the dedicated TAMRON Lens UtilityTM software developed in-house by TAMRON. Turn ordinary, everyday events into memorable shots. This Ultra Multi-Focal Length zoom lens empowers users to enjoy serious photography in a user-friendly package and expands the potential for creative expression.

Product features: 1. Unique telephoto lens with 50mm at the wide end

The 50-300mm F4.5-6.3 VC surpasses the conventional wisdom of 300mm-class telephoto zoom lenses in the 70-300mm focal range by expanding the wide end to 50mm. Catering to this focal length expansion at the wide end instantly opens greater possibilities of photographic expression for users needing a wider focal length. Unlike the conventional 70-300mm lens, this lens starts at 50mm at the wide end and is equipped with the VC mechanism, obtains a truly high image quality within its class and maintains the widely appreciated compactness of earlier products achieving a class-leading compact size with a length of just 5.9” (150mm) and weight of 23.5 oz (665g). The compact size also produces outstanding balance when paired with an APS-C camera2, providing exceptional mobility that allows the user to concentrate on shooting.

2. Uncompromised optical performance throughout the entire 50-300mm zoom range

The optical construction of the 50-300mm F4.5-6.3 VC includes 19 elements in 14 groups and is optimized for high image quality across the entire zoom range. The generous and expert arrangement of special lens elements, including two XLD (eXtra Low Dispersion) and two LD (Low Dispersion) lens elements, efficiently controls chromatic and other aberrations. TAMRON's BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating has been applied to suppress ghosting and flare, allowing the capture of fine details even in backlit situations. The combination delivers stunning clarity and contrast. Creative expression comes to life with uncompromising high resolution from the center to the corner of every image, while beautifully soft bokeh isolates the subject from the background for a greater dramatic effect.

3. High-speed and high-precision AF with superb subject-tracking performance

The autofocus drive is equipped with TAMRON's VXD linear motor focus mechanism. Users can easily lock in accurate focus from the MOD to infinity thanks to the high-speed and high precision autofocus system. Additionally, focus tracking is extremely precise, allowing users to accurately capture sudden subject movements. The linear motor also suppresses drive noise and vibrations during focusing, making it ideal shooting for both still photos and video in environments that demand quietness.

4. Amazing half-macro shooting with an MOD of 0.22m (8.7”) at the 50mm wide end and a magnification ratio of 1:2

TAMRON's 50-300mm F4.5-6.3 VC is capable of excellent close-range shooting performance. The MOD is 8.7” (0.22m) and the maximum magnification ratio is 1:2 at the 50mm wide end, meaning users can get exceptionally close to a subject to enjoy half-macro shooting. Even at the 300mm wide end, this new zoom attains an MOD of 35.4” (0.9m) with a maximum magnification ratio of 1:3.1. The extraordinary level of versatility lets users highlight the charm of subjects and capture unique compositions only possible with this lens.

5. Equipped with TAMRON’s proprietary VC mechanism

The multitalented new 50-300mm F4.5-6.3 VC is equipped with TAMRON’s proprietary VC mechanism. This effectively suppresses camera shake that tends to occur when shooting in the telephoto range, when capturing moving objects, or during close focusing, enabling stable results overall. When shooting with an APS-C camera, the full-frame equivalent focal length ranges from 75 to 450mm, and the VC mechanism is especially useful when shooting at the telephoto end. The VC also reduces the degradation of picture quality when shooting in conditions prone to camera shake, such as dimly lit interiors or low-light landscapes. Moreover, at focal lengths up to 100mm, AI (Artificial Intelligence) technologies provide additional compensation with videography in mind.

6. Proprietary software tool TAMRON Lens Utility for lens function customization and firmware updates 7. High convenience and operability
  • 67mm filter size, same as most other TAMRON lenses for mirrorless cameras
  • Focus Set Button for assigning camera function and TAMRON Lens Utility function
  • Enhanced overall lens design for user-friendly operation
  • Zoom Lock mechanism
8. Protective features (Moisture-Resistant Construction and Fluorine Coating) 9. Compatible with many camera-onboard features and functions, including Fast Hybrid AF and Eye AF

1 Among full-frame mirrorless compatible 300mm telephoto zoom lenses equipped with vibration compensation (As of May 2024: TAMRON)
2 Zoom range when shooting with an APS-C camera: a full-frame equivalent of 75-450mm

Tamron 50-300mm F4.5-6.3 Di III VC VXD specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length50–300 mmLens mountSony E, Sony FEApertureMaximum apertureF4.5–6.3Minimum apertureF22–32Aperture ringNoNumber of diaphragm blades9Aperture notesRounded diaphragmOpticsElements19Groups14Special elements / coatings2 XLD, 2 LDFocusMinimum focus0.22 m (8.66″)Maximum magnification0.5×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight665 g (1.47 lb)Diameter78 mm (3.07″)Length150 mm (5.91″)SealingYesZoom methodRotary (extending)Power zoomNoFilter thread67 mmHood suppliedYes
Kategorier: Sidste nyt

Panasonic x Arri: Software upgrade adds Arri LogC3 to Panasonic GH7 (and GH6)

11 jun 2024 - 21:19
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Last week's launch of the Panasonic GH7 was exciting for video shooters, with features like 32-bit Float audio and internal ProRes RAW recording making headlines. However, Panasonic also made a parallel announcement that will turn some heads.

The company has partnered with Arri, a leading manufacturer of cinema cameras, to bring Arri's LogC3 profile to the Panasonic GH7 and GH6, which will allow for color matching between those models and Arri's digital cinema cameras. Enabling the feature requires paying a license fee to Arri, so users will have to pay this fee.

As a result, it should be possible to mix the GH7 into a shoot with Arri cameras, potentially offering advantages where a smaller camera is needed, such as on a small gimbal or drone.

Buy now:

$99 at Amazon.com$2198 at B&H Photo$2198 at Adorama

Panasonic says LogC3 on the GH7 uses a curve that conforms to the standard sensitivity of ISO 800 on Arri cameras. This is the 'native' ISO of Arri cameras when shooting LogC3, with the curve giving up to 7 2/3 stops of highlights above middle grey and 6 1/3 below. Other ISO settings don't change the gain applied and simply shift the middle grey point, exchanging DR between highlights and shadows. Arri LUTs are typically calibrated to ISO 800.

The GH6 and GH7 do apply differing gain between their ISO settings, meaning the same amount of highlight range is maintained. Panasonic says it has carefully calibrated each ISO setting so that the color and tone response is properly matched back to the LogC3 ISO 800 curve. This means the camera can be used at different ISO settings or in Auto ISO but still deliver footage that works well with Arri LUTs.

The base ISO of the GH7 in LogC3 mode is 320 and you don't need to limit either the GH6 or GH7 to the range in which they can use their twin sensor readouts (DRBoost mode), you simply capture a stop less highlight when operating outside this range.

You can use the Arri Look Library simulator to preview different Arri LUTs that can be downloaded from the Arri Look Library.

This means that Panasonic users will be able to use the Arri Look Library, a library of LUTs that can be used to convert LogC3 footage to one of dozens of Arri's high-quality looks.

Additionally, since the GH7 can store custom LUTs, these Look LUT files can be loaded into the camera. When combined with Panasonic's real-time LUT system, users also have the option to output a specific Arri look straight out of camera, or to proxy files.

LogC3 is an optional $200 upgrade that users can install on their cameras by purchasing Panasonic's DMW-SFU3A software upgrade key. Panasonic notes that the upgrade will also work on the Lumix GH6, though without the added advantage of Panasonic's real-time LUT system.

Panasonic licenses ARRI LogC3 from ARRI for the LUMIX GH7

Newark, N.J. (June 5, 2024) – Panasonic is proud to announce a new Software Upgrade Key DMW-SFU3A (sold separately) on the LUMIX GH7. With this upgrade, ARRI LogC3* is enabled, and seamless color matching with ARRI’s digital cinema cameras can be achieved. The image processing of the ARRI LogC3 curve on LUMIX GH7 has been certified by ARRI for the implementation of this function. The options for Log recording, which provides rich color information and wide dynamic range, have been expanded to include ARRI LogC3 in addition to the conventional V-Log, further improving LUMIX’s workflow compatibility.

*ARRI LogC3 is a Log gamma developed by ARRI and used in ARRI digital cinema cameras. Please note: ALEXA 35 uses ARRI LogC4.
*On the LUMIX GH7, ARRI LogC3 can be used for 10bit recording in Creative Video mode.

1. Video production using a wide variety of ARRI Looks

Video data shot with LUMIX GH7 in ARRI LogC3 can easily be converted to your favorite look. The ARRI Look Library contains 87* high-quality ARRI Looks to choose from, and in the ARRI Look Library simulator available online, you can easily check the ARRI Look File that best fits your shooting style and scenario. It is also possible to store the LUT package for 709 conversion (ARRI Look Library LogC3 to Rec709 3D-LUTs) in the LUT Library of the LUMIX GH7 and combine it with the REAL TIME LUT function to capture videos with ARRI LUTs straight out of the camera.
*As of June 5th, 2024

2. Production workflow compatible with a variety of viewing devices

Using the ARRI Look Library (log-to-log), you can color grade videos recorded with ARRI LogC3 and apply the desired ARRI Look within the log space. Additionally, by using the LUT package (ARRI_LogC3_v1-2_LUT_Package) you can convert the color space of various display devices, allowing you to output the ARRI Look according to the desired color space in SDR and HDR.

3. Video production combined with ARRI digital cinema cameras

Shooting in ARRI LogC3 on the LUMIX GH7 is a perfect solution for situations that require added flexibility, such as mounting on a gimbal or drone. The LUMIX GH7 can easily match colors in shooting situations where cinema cameras, such as the ARRI ALEXA Mini, are used as the main camera. Furthermore, when DMW-SFU3A is installed, ARRI LogC3 in the LUMIX GH7 employs a curve that conforms to the standard sensitivity of ISO 800 of the ARRI camera. As the gamma curve does not change depending on the ISO sensitivity, users can use the same editing workflow no matter which ISO they shoot at. It also enables recording at ISO Auto, which is unique to mirrorless cameras.

In addition, ARRI LogC3 recording can also be used on the LUMIX GH6 in the same way as the LUMIX GH7 by using the Software Upgrade Key DMW-SFU3A, with the exemption of the REAL TIME LUT function which is not available on this model.

Kategorier: Sidste nyt

Have $250,000 burning a hole in your pocket? Kitamura Camera has the deal for you!

11 jun 2024 - 15:00

Kitamura Camera has about 600 locations "from Okinawa to Hokkaido" (all over Japan). I visited their stunning flagship store in Shinjuku, located just East of Shinjuku Station. They offer a full range of both new and used photo gear, film and services, including an extensive repair department, even handling Apple repair on the basement level.

Photo: Kitamura Camera

I always extend my business trips to Japan beyond the bare minimum needed for business, because I can never get enough of the country, its people and its culture. Most recently, I stayed on a couple of weeks past the end of the CP+ 2024 photo trade show, using part of the time to explore the world of used cameras in Tokyo. There are used-camera shops spread all across the city, but the largest concentration is in the Shinjuku neighborhood, within blocks of the massive Shinjuku train station.

Shinjuku’s used-camera scene is amazing; a true Mecca for film-camera enthusiasts, with offerings at every price point from a couple of dollars for a 'maybe it will work' point-and-shoot to hundreds of thousands of dollars for ultra-rare collector’s items.

Time permitting, I hope to write another story that will serve as a guide to buying a used camera in Tokyo, which is arguably the best place in the world to do so.

Hiroyuki Mizutani is the Concierge of Kitamura Camera’s vintage-camera business, focusing on collectible Leica bodies and lenses including some incredibly rare and valuable models. The camera he’s holding is one of the extremely rare olive-green "Bundeseigentum" M3 models made for the German government. (Note the black gloves, a hallmark of the Vintage Salon.)

Photo: Azusa Kumei, Kitamura Camera

This story, though, is about my introduction to the world of ultra-rare collector’s items when I visited Kitamura Camera’s flagship store just east of Shinjuku Station, and a conversation I had with the surprisingly young Concierge of that department, Mr. Hiroyuki Mizutani.

Kitamura Camera operates a chain of approximately 600 camera stores all across Japan, from Okinawa to Hokkaido, as the Japanese expression goes. (The phrase is similar to 'from east to west' in the US.) They built a massive and luxurious flagship store in a prime Shinjuku location in 2020, timed for the 2020 Olympics.)

This pair of Leica Summilux 50mm F1.4 lenses was my first hint of what awaited in Kitamura’s Vintage Salon. These were on the more prosaic 4th floor, but at the then-current exchange rate, they were priced at $15,900 and $36,700 respectively. The more expensive model is the original version, produced for only 2 years from 1959-1961 before being supplanted by the other one, which was sold with only cosmetic changes from 1961-2004 when it was finally replaced by the ASPH model.

I was amazed by the range and quality of used cameras they had on display on the 4th floor of the building (they have nearly 3,500 items in their inventory), including what seemed like some very high-priced items. After seeing a Leica 50mm F1.4 lens priced at 5,500,000 ¥ ($36,700 at the time), I remarked to an employee about these prices, and he replied, "Oh, this is nothing; you should see the 6th floor!"

It turns out the 6th floor houses Kitamura Camera’s "Vintage Salon," dedicated to truly rare and valuable collector’s items. I was blown away when I saw an early Leica built for the German Army bearing a price tag of 40,000,000 Yen, or more than $250,000 USD at the then-current all-time high exchange rate. It turned out that wasn’t even the most valuable model on offer.

I asked Mizutani-san if he’d be willing to be interviewed about his experience and the world of ultra-high-end camera collectors, and he agreed.

The "Vintage Salon" on the 6th floor exudes understated elegance. The far wall showcases particularly rare items, and the low flat cases display featured models. A vertical display case and the wall behind it holding larger numbers of less-rare collectibles are off-camera to the left, while the wall off-camera to the right holds more recent models. I wouldn’t venture a guess on the total value of the gear in this one room, but it’s easily in the millions of US dollars.

Mizutani-san was very patient with my lack of Japanese and the resulting inconvenience of passing both sides of the conversation back and forth through our phones. AI transcription software and my hand-tuned translator GPT helped me turn our words into the story below, but the AIs had a lot of difficulty with the choppy dialogue and the repetition in two languages as our phones echoed our words.

As a result, while I’ve written this up as if it were a continuous conversation, it’s, in fact, heavily edited for continuity; I asked Mizutani-san to look over a carefully translated version in Japanese to make sure I didn’t misrepresent anything he said, but any mistakes here are entirely my fault.

It was interesting to hear about Mizutani-san’s journey from a barista at a photo cafe to the "Concierge" of one of the largest vintage camera businesses in Japan. I hope you’ll find it as interesting as I did!

The beginning of the journey

Dave Etchells: How old were you when you first became interested in photography? What sparked your interest? What was your first camera?

Hiroyuki Mizutani: The trigger for my interest in photography really came when I began working here. It was actually after I started working at Kitamura Camera that I became interested in photography itself. If anything, I was initially more interested in the manual, mechanical cameras themselves, and it was because Kitamura Camera dealt with such cameras that I joined the company; from there, I started to engage in photography.

Dave Etchells: Was this your job after college? Did you start part- or full-time?

Hiroyuki Mizutani: I started with a part-time job. It wasn't at a university, but after graduating from high school, I began working at Camera Kitamura while I was attending a vocational school. I think I started in the middle of the school year, I was studying film and theater at the time.

Here’s a lovely pair of Leica Noctilux 50mm F1.2s, highly prized as the first Leica lens to use an aspheric element (a double-sided one at that), and also due to only around 1,700 of them having been produced (volume estimates vary). They were fiendishly difficult to make and Leica had no way of testing them until they were completely assembled, with the result that only about 50% of them ended up good enough to sell. The result is the kind of value you see here; the Spring Sale pricing is $74,400 and $52,800, respectively. (The version with the "feet" scale in red is even more rare, hence the higher value.)


Photo: Azusa Kumei, Kitamura Camera

Dave Etchells: How did you end up selling cameras, what was the connection to Kitamura?

Hiroyuki Mizutani: Before joining Camera Kitamura, I worked for a while at a photo café, where you could order photos while enjoying a coffee. I was working as a barista, on the coffee-making side of things, and someone I met there introduced me to Camera Kitamura. That was the trigger for me ending up at Kitamura.

Dave Etchells: You currently manage the Leica business for Kitamura; how did you initially become involved with Leicas? What was behind your interest in them?

Hiroyuki Mizutani: Originally, I was involved in various aspects, selling many different types of film cameras and even visiting customers' homes for camera purchases, dealing with both sales and acquisition of various cameras. Being acknowledged for these efforts and having a background working with manual and film cameras at Kitamura Camera were both significant factors. Additionally, the previous manager, Maruyama-san, with whom I had worked at the first store, played a part in me being assigned here. It's partly due to these factors – my track record and the connection with Maruyama – that I came to be part of this department.

Kitamura Camera’s two Shinjuku locations are on the east and west sides of the massive, sprawling Shinjuku Station. Shinjuku Station is bewilderingly complex, as hinted at by all the red-tinted areas showing underground passageways and malls. Google Maps suggests the quickest route between the two stores is to pass through the station. Don’t believe it, stick to surface travel! Even Tokyo locals often get lost in Shinjuku station. (If arriving by train, look for signs to the main East or West exits and then navigate to the stores on the surface from there.)

Dave Etchells: So you worked as a kind of apprentice to Maruyama-san, as you learned the business of buying and selling cameras, how to set prices, make offers, etc?

Hiroyuki Mizutani: Actually, it was a little bit different. Kitamura Camera has about 600 stores nationwide, and I worked with film cameras at some of the other stores as well. I lived in Kanagawa Prefecture. Initially, I worked in Shinjuku, then moved to Tachikawa in the west of Tokyo, and after that, I worked in Osaka for several years. I worked together with Mr. Maruyama at the Shinjuku store over by the West Gate. That store is called Camera no Kitamura, the Shinjuku Nishiguchi shop. The store was located at the West Exit. [Nishiguchi means "west entrance"]

[Editor's note: The Camera no Kitagura store still exists, just a block or so from the West Exit of the massive Shinjuku train station. It stocks a full range of photo products, both new and used. Travelers should take note of their 1-hour sensor cleaning service, available for most interchangeable-lens cameras at both locations.]

Dave Etchells: Who was Maruyama-san, was he an owner of the business or just an experienced employee?

Hiroyuki Mizutani: Mr. Maruyama oversees the Leica department at this store. The store we worked at together previously was called Camera no Kitamura. This Shinjuku Kitamura Camera store that we’re in today is the flagship store of the entire nationwide 600-store Kitamura Camera chain.

Tracking the global market

Dave Etchells: How do you manage to keep up with everything that’s going on in the Leica world? I'm sure it’s a global business, and it must be hard to keep track of what products are out there, what prices they’re selling for, etc.

Hiroyuki Mizutani: Yes, that’s right. It's quite difficult. As I’ve been running this store for several years though, customers have told me about a lot of things that the public doesn’t get to hear about, and I’ve managed to gather information from around the world. After doing this for several years now, I feel like I’m finally getting a good picture of what’s really going on in the market vs. just what happens in public auctions.

Loads of Leicas: This is just a small selection of the rare Leicas in the Vintage Salon. There seemed to be four tiers: The most exceptional ones are showcased on the left wall, very rare ones are in these low, flat cases, more ordinary collectibles are in a tall vertical case and wall on the immediate left as you enter, and more modern collectibles displayed along the wall to the right. It’s a must-visit shop for Leica collectors, regardless of their level.

Dave Etchells: Do you spend time online, seeing what's going on in other countries, what the models are … Is there some sort of organization or a group of top-level collectors and dealers you interact with? I'm curious about your sources of information.

Hiroyuki Mizutani: I think there are horizontal connections among customers, but I don't have a good grasp of what those groups are. Nevertheless, we participate in online sales and famous worldwide auctions, and of course, we are watching the auction prices everywhere.

Dave Etchells: So, many cameras at this level are sold around the world, at auctions in different countries?

Hiroyuki Mizutani: Yes, cameras of this level are sold in great numbers at auctions in various countries. That's still the case now; it's challenging. Some items rarely appear or appear only very occasionally, which can make pricing them more difficult.

Lest you think the Vintage Salon stocks only ancient, world-weary cameras and lenses, the wall on your right as you enter the room has a lovely array of newer models in pristine condition. Finding cameras

Dave Etchells: We’ve talked about auctions. Are there other ways you find the cameras to sell? You mentioned going to people’s homes. Do you hear about them somehow, or do people bring their cameras here at the flagship store because the company is so well known? Perhaps not just big collectors, but ordinary people who happen to own these cameras.

Hiroyuki Mizutani: Yes, we also purchase cameras from people who come directly here. I mentioned earlier that there are about 600 stores in the Kitamura Camera network; all of these shops serve as purchasing points for us. If a local store isn't knowledgeable about a particular model, they can contact us here [at headquarters], and we can tell them the correct price. I think this helps customers feel confident about selling to us.

"I can say for sure that there are a lot of very successful people who are interested in photography. Of course, there are also some celebrities, but again, I can't share any names"

Dave Etchells: I'm curious, who are the collectors who can buy cameras like the ones you have here on the 6th floor? Are they celebrities? Are they business people? Are they investors? What do your customers look like, and what kind of people are they that come through?

Hiroyuki Mizutani: Well, of course, I can’t share any details because that would be private customer information. While I can’t give any specifics, I can say for sure that there are a lot of very successful people who are interested in photography. Of course, there are also some celebrities, but again, I can't share any names.

The two most rare specimens in the main Vintage Salon showroom are this pair of olive-green M3 Bundeseigentum ("federal property") models made for the German government. The one on the left is from the first production batch, and the one on the right is from the third. These green M3s are exceptionally rare, as only 300 or so were manufactured, and it’s estimated that only 142 remain. Prices will vary with the market, but if you're looking for a first-batch Bundeseigentum in good condition, you should have at least $250,000 in your checking account.

Photo: Azusa Kumei, Kitamura Camera

Dave Etchells: I keep coming back to the question of how you decide what prices to put on the cameras. That must be especially challenging in the case of very rare cameras, that don’t appear on the market very often.

Hiroyuki Mizutani: Yes, it’s certainly tricky, but it’s the same basic answer: We monitor auction prices around the world, note what similar cameras have sold for, and adjust the price as appropriate given the direction of the market (which is generally upward). For very rare cameras, they may not change hands very often, so it requires a deep understanding of the market to know how demand might have changed since the last sale of something similar.

One-in-a-million finds

Dave Etchells: I imagine that you have stories about some particularly exciting acquisitions or sales. Can you share any of them?

Hidden away from the main showroom, the Vintage Salon's "VIP room" has the rarest of the rare models on display and locked in cupboards, for exclusive viewing by top-tier collectors. Mizutani-san asked that I not reveal details to the general public, but if $75,000 for a Nocticron 50mm F1.2 or $250,000 for a well-used Bundeseigentum M3 amounts to mere pocket change for you, you might find something more to your taste and budget here.

Hiroyuki Mizutani: Well, I actually think selling every camera is exciting. Especially when customers use the camera to take photos and are pleased with it, that’s when I feel really glad to be doing this job. When they bring photos they’ve taken into the store, taken with a camera that I sold to them and show them to me, that makes me very happy.

Dave Etchells: I can imagine that’s rewarding, feeling that you’ve contributed to someone’s enjoyment of photography. Were there moments when you were surprised by what someone brought in to sell, though?

"I never imagined that something so extremely rare would just show up at one of our stores"

Hiroyuki Mizutani: Oh yes, one time I was very surprised. I got a question from one of our stores about a camera someone had brought in that was extremely rare. It was so rare that I had only ever seen it mentioned in magazines and books, never actually for sale anywhere in the world. I unfortunately can’t name the camera because it became part of a private collection, and the owner requires strict confidentiality, but it was a very rare model indeed. I’m sorry I can’t tell you more about it, but I never imagined that something so extremely rare would just show up at one of our stores. I have also had very rare cameras brought into this store here as well.

Kitamura Camera’s flagship store is a great place to buy a full range of used cameras, both film and digital, with upwards of 3,500 products in stock on their 4th floor. Unlike most used camera stores I visited in Shinjuku, Kitamura offers a full 6-month warranty on the used gear they sell. The prices are a bit higher as a result, but I personally think the assurance is well worth it. Business is booming

Dave Etchells: How is the used-camera market in general going these days? If you had to guess, how much more used film camera volume is Kitamura Camera seeing now compared to, say, 2019, before the pandemic?

Hiroyuki Mizutani: Comparing the used film camera market to 2019 before the pandemic, basically, the quantity of goods and the number of items available has been decreasing year by year. However, I believe the rarity of these items has been increasing. Absolutely, yes; since I started working, I think the number of people using film cameras has greatly increased, and I find this to be very pleasing.

The Panon Camera Shoko company (very loosely "Panon Camera Specialists") is best known for its line of Widelux 35mm panoramic cameras with rotating lens assemblies. They began with medium-format panoramic models though, starting with the Panon 50A in 1952. This is an AIII model, introduced in 1953; a 50mm lens rotates to capture a total field of view of 140 degrees.

Dave Etchells: What do you see for the future of the collector's market? Is it growing, holding steady or declining? Do you see younger people coming into the Leica market, albeit perhaps not yet customers for the Vintage Salon?

Hiroyuki Mizutani: I think this is an unknown world, even for us. We’re glad to see many different kinds of customers come, including young, affluent ones. I think that many of the young people who are buying used film cameras today are just getting started in their lives. After they have made more money, perhaps some of them will become collectors.

It happens that I'm in charge of this floor, but fundamentally, I've always liked the cameras on the fourth floor as well. Therefore, I introduce them to various people and engage in selling them as well. I think it would be great if I could lead the flow of people in that way, getting them interested in cameras on the 4th floor and then later getting them interested in vintage cameras. I hope that the vintage world will become more and more exciting as time goes on.

Conclusion

Seeing Kitamura Camera's Vintage Salon and talking with Mizutani-san was a fascinating glimpse into the world of ultra-wealthy Leica collectors. Considering the prices new Leica bodies and lenses sell for, I had always assumed that Leica collecting would be a pricey pastime, but I had no idea just how pricey. It's hard for me to wrap my head around the sort of wealth it would take to consider spending the price of a modest house just to fill a gap in your collection of rare cameras.

What really brought it home for me, though, was the sheer number of cameras and lenses that Kitamura Camera has in this category. It seemed that a price tag of $20-30,000 was just the starting point in a room with a hundred or more items on display, and even more valuable ones tucked away and shown only to VIP customers.

Even more than the volume of vintage gear Kitamura Camera themselves have on display, talking with Mizutani-san made me realize just how deep the vintage Leica waters run. For a serious player, it's not just a matter of owning a 50mm F1.2 Noctilux, but whether they have both the red- and yellow-lettered versions in their collection. For some M3 bodies, the difference between having a white or black frame-counter dial can mean another $50,000 - $100,000 on the price, and of course, what collection could be complete without both versions?

"Talking with Mizutani-san made me realize just how deep the vintage Leica waters run"

I was intrigued by Mizutani-san's own story, too, a path that led from pulling espresso shots at a coffee/photo cafe to managing one of the premier vintage camera businesses in Japan and perhaps the world.

Beyond all this, though, Kitamura Camera's flagship store was just a fun place to visit. The Vintage Salon is worth the trip just for the experience of seeing row after row of rare cameras and lenses with stratospheric prices. For me, though, the 4th floor was even more interesting, with its rows of crisp wood and glass showcases filled with old but functioning film cameras of every kind imaginable. (They have a lot of used digital gear, too; it's just that I was more interested in the film side of things.)

For a photo-tourist on a shopping expedition, Kitamura Camera has a lot to offer; their prices for used gear are a bit higher than you'll find in many of the other shops around Shinjuku. However, there's a crucial difference in that Kitamura guarantees its used gear for 6 months, while most of the competing stores work on a consignment basis, which means they famously have "20-20" warrantees (20 seconds or 20 paces, whichever comes first).

As much as I enjoyed visiting Kitamura Camera's flagship store, though, I have to say I'm glad I don't live anywhere near it: My bank account would too quickly turn into piles of old photo gear that were just too interesting to pass up :-)

Kategorier: Sidste nyt

Canon announces compact dual fisheye lens for VR content creation

10 jun 2024 - 22:00
When you use DPReview links to buy products, the site may earn a commission. Image: Canon

Canon has announced the new RF-S 3.9mm F3.5 STM Dual Fisheye, an APS-C lens for VR (virtual reality) content production.

The compact, stereoscopic lens captures a 144º field of view and is the first non-L series lens to feature Canon's Air Sphere Coating. Its optical formula consists of 11 elements in eight groups, including two UD glass elements. The interpupillary distance (the distance between the left and right lens centers) is 60mm, which approximates human vision.

This is the second VR lens for the RF mount. Canon previously announced the RF 5.2mm F2.8 L Dual Fisheye, a VR mount for full-frame cameras. The new 3.9mm lens appears to be aimed primarily at social media creators, with Canon emphasizing the lens' affordability and usability for creating vlog-style VR content.

The new lens works with the EOS R7, though a firmware update will be required.

Image: Canon

Canon has previously indicated its interest in the VR, AR (augmented reality) and XR (extended reality) markets. In fact, during an exclusive interview earlier this year in Japan, Canon executives told us they believe the company is uniquely positioned to provide production tools for these markets.

The APS-C lens is compatible with the Canon EOS R7 camera, though a firmware update will be required for compatibility with the new lens.

Pricing and availability

The RF-S 3.9mm F3.5 STM Dual Fisheye has a suggested retail price of $1,099 and will be available in June

Press release: Canon unveils the future of everyday VR content creation with new dual fisheye lens

MELVILLE, NY, June 10, 2024 – Canon U.S.A., Inc., a leader in digital imaging solutions, has announced the new RF-S3.9mm F3.5 STM Dual Fisheye lens, bringing ease, affordability and quality for social media creators interested in exploring VR content creation. The RF-S3.9mm F3.5 STM Dual Fisheye lens is compatible with the EOS R7 camera* and will be
available in June 2024.

The new RF-S3.9mm F3.5 STM Dual Fisheye lens makes VR content creation with a mirrorless camera more accessible and efficient than ever. Engineered to empower creators of all types, this lens offers a perfect balance between clarity and usability for vlog-style VR creation. This APS- C Stereoscopic VR lens’ ability to achieve a 144º wide-angle view and utilize equidistant projection makes it ideally suited for every day, virtually hassle-free VR production. Also designed for versatility, this lens permits multiple methods of camera handling, from hand-holding, mounting on a gimbal, or tripod-mounting. Canon’s available EOS VR Utility software (separately available with a paid subscription) is designed for a smooth editing process.

"The RF-S3.9mm F3.5 STM Dual Fisheye lens offers a solution to the growing demand for more affordable and accessible tools in the VR market,” said Brian Mahar, senior vice president and general manager, Canon U.S.A., Inc. “Whether you’re a social creator looking to expand your content into VR, or a filmmaker interested in making the jump from 2D to 3D content, this lens enables creators of all levels to comfortably explore VR content creation and generate amazing content.”

Get to know the RF-S3.9mm F3.5 STM Dual Fisheye lens:
  • One-shot AF and Left/Right focus Adjustment with Focus ring, helping to create effortless and precise shooting in virtually any environment.
  • An Air Sphere Coating (ASC) is a first for Canon non-L Series lenses and helps to minimize ghosting and facilitate pristine image quality.
  • Rear filter holder that accommodates both 30.5mm screw-on filters and sheet-type filters, i.e. gelatin or polyester filters.
Pricing and Availability

The Canon RF-S3.9mm F3.5 STM Dual Fisheye lens is scheduled to be available in June 2024 for an estimated retail price of $1,099.00

Sigma 28-45mm F1.8 DG DN Art specifications Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length3.9 mmImage stabilizationNoLens mountCanon RFApertureMaximum apertureF3.5Minimum apertureF16Aperture ringNoNumber of diaphragm blades7OpticsElements11Groups8Special elements / coatingsTwo UD glass elementsFocusMinimum focus0.20 m (7.87″)Maximum magnification0.03×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight290 g (0.64 lb)Diameter112 mm (4.41″)Length55 mm (2.15″)Filter thread30.5 mmFilter notesSupports 30.5mm screw-type filter (rear lens mount) or rear-mounted gelatin filter.Hood suppliedNoTripod collarNo
Kategorier: Sidste nyt

Nikon teases June 17 launch of Nikon Z6 III

10 jun 2024 - 14:01

Nikon has released a teaser, promoting the upcoming launch of the Nikon Z6 III. A countdown indicates that the new camera will be revealed on Monday 17th June.

The name implies the long-awaited successor to the Z6 II, itself a relatively minor refresh of the company's original mid-level full-frame mirrorless camera.

There are plenty of rumors swirling around, promising impressive specs, particularly on the video side of things, but at least we now know for sure that we've only got a week to wait. We'll bring you all the details as soon as we can.

Kategorier: Sidste nyt

A nature photography tour of Madagascar, Part 4: The Long Way to Isalo

8 jun 2024 - 15:00

In the last three articles in this series, I talked about my visits to Andasibe NP, where I shot lemurs and chameleons, and to Tsingy Rouge NP, where I shot beautiful formations made by erosion. I also talked about shooting sifaka lemurs and baobab trees in the Kirindy Forest reserve. This time, instead of discussing one spot, I'll present a series of locations I briefly visited on my way along the west coast of Madagascar.

Once finished in Kirindy, I took an extremely bumpy ride north to the famous Tsingy De Bemaraha National Park. Unfortunately, I didn't have too much time to stick around and explore the vast expanses of karstic formations in the park, but I did devote some hours to shooting some more beautiful lemur species in the forest next to those formations.

Female red-fronted brown lemur at Tsingy De Bemaraha National Park. These medium-sized lemurs with reddish-brown fur are commonly found in the forested areas of the reserve. They are very agile, but when relaxed, they're comfortable resting on branches for long periods, making them relatively easy to shoot.

Canon 5D4, Sigma 150-600mm F5-6.3
293mm | 1/200 sec | 5.6 | ISO 800

This sportive lemur was looking (and acting) like a truck driver when looking down at me from its tree house. Talk about crazy eyes!

Canon 5D4, Canon 70-300mm F4-5.6
300mm | 1/125 sec | F5.6 | ISO 800

Red-fronted lemurs are sexually dichromatic, meaning that males and females have different fur patterns; males are gray to gray-brown, and females are reddish brown. In this shot, you can see the limitations of high-ISO photography, as the quality isn't as good as one would hope.

Canon 5D4, Sigma 150-600mm F5-6.3
388mm | 1/160 sec | F8 | ISO 3200

My favorite lemur family is the Sifakas. After shooting the Diademed sifakas in Andasibe and the Verreaux sifaka in Kirindy, I was keen to shoot another species in the family: the beautiful Decken's sifaka. This species is especially fluffy and features all-creamy-white fur, which accentuates its red eyes.

The Y-shaped branch contributed a great deal to the composition. I don't even hate the fact that the background is blue sky - I think it compliments the sifaka's creamy-white fur.

Canon 5D4, Sigma 150-600mm F5-6.3
275mm | 1/640 sec | F5.6 | ISO 400

I spent one afternoon shooting the Tsingy themselves, but felt unable to achieve many good compositions. Movement is extremely slow and difficult on these sharp formations, and one often needs to wear a harness and climb to get to the viewing platforms. The view is astounding for sure, and I wished I spent more time exploring the area. Leaving after one afternoon was an unfortunate scheduling necessity.

Backlit trees and rock formations in Tsingy De Bemaraha.

Canon 5D4, Canon 11-24mm F4
18mm | F1/125 sec | F13 | ISO 400

After Tsingy De Bemaraha NP, I returned to the city of Morondava and, before starting a long drive south, stopped by the famous Baobab Alley. This is an over-crowded location, as I quickly found out on an afternoon visit, but it's both empty of people and often foggy during sunrise. It's a nice place, but honestly, it's way overshot. There are beautiful baobabs all over Madagascar (as you saw in the article about Kirindy), where you can get more original compositions and avoid the masses.

Baobab Alley. I would only go there to shoot if it's on your way and if you can go at sunrise. If you do go, make sure you try the baobab fruit juice in the cafe!

Canon 5D4, Tamron 24-70mm F2.8
24mm | 1/40 sec | F7.1 | ISO 400

Then began the long, long journey south – a two-day drive that I didn't know whether it was more boring or more grueling. The worst dirt roads you can imagine had us going at a snail's pace. We did stop at a few locations along the way, and I took a few shots of less-photographed subjects. One of those was the forest of fat baobabs close to Andavadoaka, a beautiful place in its own right but also one that is way off the tourist path.

The fat baobabs are shorter than the famous ones you have in mind, but in my opinion, they are much more interesting photographically. They are also usually grouped close together, which, while making them harder to shoot, also allows for more interesting compositions. They also kinda look like turnips, don't they?

Post-sunset glow is the perfect time to shoot the fat baobabs. The red light accentuates their natural reddish hues against the purple sky. The close grouping of the trees allowed me to create a more interesting near-far composition.

Canon 5D4, Canon 11-24mm F4
15mm | 6 sec | F13 | ISO 100

To shoot this image, I had to focus stack three images to get both the closer and more distant trees in focus (the camera was positioned only tens of cm from the tree on the left).

Canon 5D4, Canon 11-24mm F4
11mm | 5 sec | F8 | ISO 400

Fat baobabs also have a type of fungus growing on them that creates absolutely astonishing natural patterns. By the way, if you do visit them, make sure you put on lots and lots of mosquito spray. I was viciously attacked when I first arrived and had to retreat to the car for a proper slather.

Fungus patterns on a fat baobab.

Canon 5D4, Canon 70-300mm F4-5.6
300mm | 1/40 sec | F5.6 | ISO 1600

Canon 5D4, Canon 70-300mm F4-5.6
221mm | 1/80 sec | F11 | ISO 200

The most fungus-ridden baobab I saw was further south. It was completely covered in amazing patterns that looked like they were painted by graffiti artists.

The sun star sparkles through the branches of a fungus-ridden baobab.

Canon 5D4, Canon 11-24mm F4
11mm | 1/160 sec | F14 | ISO 200

We continued our two-day drive, passing beautiful views of the Mozambique Channel. The whitest sands I've ever seen were washed by resplendent turquoise waters when we had to turn east, inland, toward Isalo National Park – the subject of the next article in this series.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Madagascar, Greenland, the Lofoten Islands, Namibia and Vietnam.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

More in this Series: Selected Articles by Erez Marom:
Kategorier: Sidste nyt

Leica’s new LUX iPhone app seeks to build a new generation of brand fans

7 jun 2024 - 02:02
Photo: Tucker Bowe

Leica has launched a new LUX app for iOS that's ostensibly intended to reach longstanding fans of the brand and endear a new generation of shooters to the photographic aesthetic of the iconic German camera company – or at least a digital approximation of it.

The app's proprietary image processing engine can apply film emulation presets to existing photos in a similar fashion to Fujifilm's popular offerings. Eleven so-called "Leica Looks" are included in the app at launch, such as Leica Standard, Leica Classic, Leica Contemporary, and Leica Black and White. However, the company says that new looks will be added every month.

Though now available to a much broader potential set of consumers, Leica Look filters technically aren't new for the brand. The feature initially appeared in the company's Fotos app for owners of newer Leica digital cameras.

Like other fully-featured third-party camera apps such as Halide, iPhone photographers can also use the LUX app's automatic mode, "Aperture Mode," and manual control modes to capture photos.

Photo: Leica

Aperture Mode is the most unique selling point of the new app. Seemingly like Apple's own Portrait Mode on steroids, the feature leverages Leica's image engine to emulate the bokeh and color of the brand's iconic – and for many, unobtainable – premier lenses, such as the Leica Summilux-M 28mm F1.4 ASPH, Summilux-M 35mm F1.4 ASPH, and Noctilux-M 50mm F1.2 ASPH. iPhone 15 Pro (Max) users can also access an APO-Telyt-M 135mm F3.4 emulation thanks to the phone's telephoto lens.

There's also a pro manual mode, which allows advanced users to control settings, including exposure compensation, shutter speeds, ISO, white balance, manual focus, and Raw/ProRaw capture settings. You can also see a live histogram.

While we haven't tested the app yet ourselves, at least some journalists, such as Antonia G. Di Benedetto at The Verge, who have had access to early beta versions, describe the app's processing features as hit-or-miss and the color filters in some cases as heavy-handed, at least for now. Like the built-in portrait modes on many premium smartphones, Leica's efforts to simulate bokeh and depth of field via software seem to struggle to produce realistic results under certain conditions.

A free version of Leica’s LUX App is available from the Apple App Store with limited features, including access to five looks. Paying a monthly subscription fee of $6.99 or an annual fee of $69.99 unlocks all of the app's capabilities. Leica recommends using the app with an iPhone Pro 12 or newer.

Kategorier: Sidste nyt

Canon Announces the RF 35mm F1.4 L VCM Lens

6 jun 2024 - 00:19
Image: Canon

Canon has announced the RF 35mm F1.4 L VCM lens, the first release in what the company says will become a full series of fixed-focal-length RF lenses with a hybrid design for stills and video, which are intended to work with both EOS photo and Cinema EOS cameras.

The RF 35mm F1.4 L VCM becomes the widest prime lens in Canon's L-series. Its optical formula consists of 14 elements in 11 groups, including two specialized aspherical lens elements and two ultra-low Dispersion glass elements.

Buy now:

$1499 at B&H Photo$1499 at Adorama

The lens also benefits from Canon's Super Spectra Coating, Air Sphere Coating, and fluorine coating. It has 11 aperture blades. Autofocus is driven by a voice coil motor (VCM), a type of linear motor, for quick, precise focusing.

Size-wise, the lens is 99.3mm (3.9") long and has a diameter of 76.5mm (3.0"), making it both shorter and skinnier than Canon's EF 35mm F1.4L II USM, and it weighs in much lighter at 555g (20 oz) compared to 760g (27 oz) for the EF version.

Image: Canon

Like the RF 24-105mm F2.8 L IS USM Z announced last fall, Canon says it specifically designed the RF 35mm F1.4 L VCM to be a true hybrid stills/video lens in acknowledgment of the new multimedia production demands many professional creatives face today.

As such, the new 35mm prime also features a manual aperture ring, similar to the F 24-105mm F2.8 L, which allows for stepless control of the aperture/iris. Additionally, the lens is designed to minimize focus breathing. It's also compatible with Canon's newly announced, native RF-mouth EOS C400 cinema camera.

Pricing and availability

The Canon RF 35mm F1.4 L VCM is expected to be available in June at an estimated retail price of $1,499. It includes a case, lens cap, dust cap and lens hood.

Press release: CANON ANNOUNCES FIRST LENS IN SERIES OF FIXED FOCAL LENGTH RF HYBRID LENSES - RF35MM F1.4L VCM

New Portable Speedlite with New Multi-Function Shoe Design Also Available

MELVILLE, N.Y., - June 5, 2024 — Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the RF35mm F1.4 L VCM lens and Speedlite EL-10 flash. The new RF35mm lens is the first in a series of fixed focal length RF lenses with hybrid video and still design, and the Speedlite EL-10 integrates with Canon’s new multi-function shoe design, for users of recent Canon EOS cameras.

Answering the needs of many professional high-level photographers, the new RF35m F1.4 L VCM lens can be looked upon as a standard lens for video and still users — for example, those who use the EOS R5 and EOS C70 cameras. This lens is the beginning of a new hybrid lens series and with its fixed focal length, fills a gap as there is not a fixed focal length lens wider than 50mm in the L-series — until now. Ideal for low-light, the RF35mm F1.4 L VCM lens features a manual iris (aperture) ring which helps provide better control when shooting movies.

The lens allows very little focus “breathing” as focus is moved, and it’s highlighted by two Aspherical lens elements and two ultra-low Dispersion glass elements. Overall, this lens has the outstanding L-series optical design many professionals have grown accustomed to. In addition, the lens can be used with the newly announced Canon EOS C400 cinema camera, further reinforcing Canon’s full support of the video market.

“The new RF35mm F1.4 L VCM lens is the answer for high-level video in the mirrorless market – while also providing still-imaging storytellers the durability and optical performance that is synonymous with Canon lenses,” said Brian Mahar, senior vice president & general manager, Canon U.S.A., Inc.

The Speedlite EL-10 flash is designed for the amateur photographer who is stepping into the mirrorless world, and the veteran user who is looking to get reacquainted with flash photography.

The multi-function shoe helps the still imagery storyteller by providing immediate access to the flash control menu, and either an on-camera EL-10 or the optional super-compact Speedlite Transmitter ST-E10 assists with triggering from one through up to fifteen off-camera flashes2.

The Speedlite EL-10 is a radio-based wireless flash with 2nd-curtain sync capabilities, and leverages four AA batteries instead of a separate battery that requires charging — making operation more streamlined for some users. In addition, it features a Custom Flash Mode function, allowing the end-user to register and store up to three sets of flash settings, and is approximately the same size and weight as its predecessor the Speedlite 430EX-III RT — while also pushing out the same amount of power. Automatic balanced fill flash is a key benefit to using flash photography, whether during daytime or low-light with slow shutter speed, and the Speedlite EL-10 is an excellent gear bag addition to achieve that creative look in one’s photos.

“Flash photography is a simple yet versatile way to add drama to one’s photos and with Canon’s steadfast commitment to reliability, the Speedlite EL-10 provides a full-circle Canon shooting experience,” continued Brian Mahar, senior vice president & general manager, Canon U.S.A., Inc.

Price & Availability

RF35mm F1.4 L VCM lens is expected to be available in June for an estimated retail piece of $1,499.00 and the Speedlite EL-10 is also expected to be available in June for an estimated retail price of $249.99*.

Buy now:

$1499 at B&H Photo$1499 at Adorama

Kategorier: Sidste nyt

Ricoh announces Pentax WG-8 and WG-1000 waterproof compacts

6 jun 2024 - 00:01
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The Pentax WG-8 "Adventure Proof" compact

Image: Ricoh

Ricoh has announced two new Pentax WG waterproof compacts: the range-topping WG-8 and the entry-level WG-1000.

The WG-8 replaces the Pentax WG-6 (and the Ricoh-branded WG-6 that came before it) at the top of the lineup. It's a 20MP camera with a Type 1/2.3 sensor (6.2x4.6mm) that's waterproof to a depth of 20m (65.6ft) for two hours: the deepest yet offered by the range. Ricoh says this is equivalent to an IPX8 or JIS Class 8 rating.

It's also shockproof from 2.1m (6.5ft), able to withstand 100kg force (220lb of force) and can withstand temperatures as low as -10°C (14°F). It has a 3.0" 1.04M dot (720 x 480px) rear LCD.

The WG-8 has a 28-140mm equivalent zoom lens with an F3.5-5.5 maximum aperture and a six LED ringlight around the lens. It can shoot up to 4K/30 video and can act as a webcam. It includes GPS and compass.

Pentax WG-1000

Image: Ricoh

The less expensive WG-1000 has a 16MP sensor and a 27-108mm equiv zoom. This has a maximum aperture of F3.0-6.6. It makes do with a 2.7" 230k dot (320 x 240px) rear display. It can only shoot video up to 1080/30.

Its durability specs are also lower, with waterproofing rated to 15m (49.2ft), shockproof from 2m (6.5ft). It also lacks its more expensive sibling's GPS and compass features. Neither model can cature Raw data.

The WG-8 will be available in late July at a recommended price of $399.95. The WG-1000 will arrive in mid July, costing around $229.95.

Press Release:

Ricoh expands its lineup of waterproof digital compact cameras with the PENTAX WG-1000 and the PENTAX WG-8

PARSIPPANY, New Jersey, June 5, 2024 — Ricoh Imaging Americas Corporation today announced it has expanded its lineup of waterproof, digital compact cameras with two new models: the entry-level PENTAX WG-1000 and top-of-the-line PENTAX WG-8. The newest additions to the WG series of all-weather adventure cameras both feature a rugged chassis, plus the waterproof, dustproof and shock-resistant features the series is known for.

| The PENTAX WG-1000 |

The WG-1000 is designed for casual underwater photography to a depth of 49.2 feet (15 meters) for up to one hour of continuous operation. Lightweight yet rugged, the new camera is also well suited for a range of land-based activities – it is dustproof against dirt and stains and shockproof against a fall from a height of 6.5 feet (2 meters). It comes equipped with a carabiner strap for carrying convenience and a protective jacket to shield the camera body from scratches.

The WG-1000 features a four-times optical zoom lens with a focal-length coverage from 4.9 mm to 19.6mm (equivalent to approximately 27mm to 108mm in the 35mm format). When coupled with its Digital Zoom function, the camera’s zoom range can be extended by approximately 24 times for high-magnification zoom photography. Its back-illuminated, 16.35-megapixel CMOS image sensor delivers sharp, clear, high-resolution images, even at a super-high sensitivity of ISO 3200.

Available in gray or olive, the WG-1000 offers seven image capture modes and a variety of color modes, enabling users to enhance their images based on their shooting environment and add their own personal aesthetic to the finished photos. The color modes include conventional Black and White and Sepia modes, as well as more creative options like Japan Style, which enhances bluish hues; Italian Style, which enhances greenish hues; and French Style, which enhances reddish hues.

|The PENTAX WG-8 |

Developed to be the toughest of the PENTAX WG series, the WG-8 boasts outstanding waterproof, shockproof and cold-resistant performance. This top-of-the-line model is waterproof to a depth of 65.6 feet (20 meters), shockproof against a fall from heights of 6.8 feet (2.1 meters), and able to operate in temperatures as low as 14°F (-10°C). Even in demanding conditions, it captures super-high-resolution still images of approximately 20 effective megapixels and high- quality 4K-resolution movie clips.

The WG-8 features a five-times optical zoom lens with focal-length coverage from 5mm to 25mm (equivalent to approximately 28mm to 140mm in the 35mm format). The lens’s minimum focusing distance of one centimeter allows the user to capture a wide range of images, from eye-catching close-ups to sweeping landscapes. Its Intelligent Zoom function extends the zoom range by approximately 40.5 times without compromising image quality.

The WG-8 has a host of advanced features and user-friendly functions, including a multi- application ring light, ideal for close-up macro photography, and web camera capability when connected to a computer for live-streaming of high-quality, high-resolution images. Its heavy-duty construction ensures that the WG-8 performs superbly and dependably in harsh, demanding outdoor conditions and on worksites.

Available in black or green, the WG-8 effectively replaces the current-model RICOH WG-6 camera as the premium offering in the product line

| Pricing and Availability |

The WG-1000 will be available mid-July at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $229.95

The WG-8 will be available late July at www.us.ricoh-imaging.com as well as at Ricoh Imaging- authorized retail outlets nationwide for a manufacturer’s suggested retail price of $399.95

Kategorier: Sidste nyt

Panasonic GH7 initial review

5 jun 2024 - 23:00
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The Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, 32-bit float audio, and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.

Key specifications
  • 25.2MP BSI CMOS sensor with parallel readouts
  • Phase hybrid autofocus
  • ProRes RAW and ProRes RAW HQ internal recording
  • 32-bit Float audio capture
  • UHD or DCI 4K in 10-bit 4:2:2 at up to 60p
  • Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
  • 5.7K full-width capture at up to 60p
  • 5.8K Full-sensor 'open gate'/anamorphic capture at up to 30p
  • 60 fps burst shooting with AF and pre-capture
  • External SSD recording
  • Real-time LUT support for photos and video
  • Lumix Lab app integration
  • 1 x CFexpress Type B, 1 x UHS-II SD slot
  • Tilting/fully-articulating rear screen
  • Built-in fan for unlimited recording

The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022. It is expected to ship in July 2024.

Index:

Buy now:

$2199 at Amazon.com$2198 at B&H Photo$2198 at Adorama What's new: Sensor

The GH7 is built around a different sensor than the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.

The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to hold focus on a relatively static subject.

The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.

29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 ms

The other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.

On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.

Find out more about dual conversion gain, dual output gain and how they work

However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required for DR Boost on the GH6). This doesn't explain how Panasonic can offer a mode that includes a high-gain component while maintaining the same ISO 100 rating for standard gamma. It's interesting to note that when you exceed 60fps (where the Dual Output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.

32-bit float audio The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input, and three dials to control the gain of each input. It can power mics that accept 48V phantom power.

While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.

32-bit Float audio doesn't encode its data directly as numerical values but instead captures them as scientific notation, with most of the bits encoding the value but the last few describing the magnitude (i.e: how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.

To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.

This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback, during the edit.

When recording 4-channel audio, this display allows you to view all four channels' input levels at once, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.

With the DMW-XLR2 you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.

There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.

Video

The GH7's headline video feature is support for internal ProRes RAW recording, including both ProRes RAW and ProRes RAW HQ, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.

ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.

Raw Codec Resolution Frame Rate Crop Destination

ProRes RAW

or

ProRes RAW HQ

5.7K (5728 x 3024)
  • 29.97
  • 25
  • 24
  • 23.98
Full width CFexpress card or external SSD* DCI 4K (4096 x 2160)
  • 59.94
  • 50
  • 29.97
  • 25
  • 24
  • 23.98
1.41x

*Supports SSDs up to 2TB capacity

The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.

The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.

In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.

Subject recognition AF

In addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.

Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.

Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.

Subject recognition works in both still and video modes.

Photography features

While initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.

Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.

The GH7 also gets Panasonic's real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.

This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.

Photo by Dale Baskin

We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.

Other improvements

Image stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting. New to the camera is Panasonic's Active I.S., a more aggressive stabilization mode that's intended to provide stabilization for situations like running with the camera.

Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud functionality, which automatically uploads video proxy files or images to Adobe's Frame.io service.

How it compares

The GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented of their own.

Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30, Fujifilm X-H2S, and another member of the Lumix family, the G9 II.

Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Panasonic G9 II MSRP at launch $2199 $2199 $1799 $2499 $1899 Sensor size/type Four Thirds
BSI CMOS Four Thirds
BSI CMOS APS-C
BSI CMOS APS-C
Stacked CMOS Four Thirds
BSI CMOS Cooling Built-in fan Built-in fan Built-in fan Optional screw-on fan None High res modes 5.8K (4:3)
5.7K (1.9:1) 5.8K (4:3)
5.7K (1.9:1) None 6.2K (3:2) 5.8K (4:3)
5.7K (1.9:1) High speed modes 4K/120p (full width)
FHD/300p 4K/120p (full width)
FHD/300p 4K/60p (1.04x crop)
4K/120p (1.56x crop)
FHD/240p

4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p

4K/120p (full width)
FHD/300p Codec options ProRes RAW
ProRes RAW HQ
ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) X-AVC HS (H.265 Long GOP)
X-AVC I (H.264 All-I)
X-AVC S (H.264 Long GOP) ProRes 422 HQ
ProRes 422
ProRes LT
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) Assist tools Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Focus map
Custom LUT preview Zebras
Peaking
Fixed LUT preview Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Rolling shutter rates, ms (approx) 4K/120 - 7.0
4K/60 - 13.2
4K/24 - 13.2 4K/120 - 7.4
4K/60 - 13.6
4K/24 - 13.6 4K/120 - 8.1
4K/60 - 16.1
4K/24 - 16.1 4K/120 - 3.9
4K/60 - 5.3
4K/24 - 5.3* 4K/120 - 7.0
4K/60 - 13.2
4K/24 - 13.2 Profile options V-Log
HLG
CinelikeD2 V-Log
HLG
CinelikeD2 S-Log3
HLG
S-Cinetone

F-Log
F-Log2
HLG
Eterna V-Log
HLG
CinelikeD2 Media type 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD 2x CFexpress A /UHS-II SD 1x CFexpress B
1x UHS-II SD 2x UHS-II SD Raw video out? 5.8K/30p (4:3)
5.7K/60p (1.9:1)
4.4K/60p (4:3)
DCI 4K/120p 5.8K/30p (4:3)
5.7K/60p (1.9:1)
4.4K/60p (4:3)
DCI 4K/120p '16-bit' 4.7K (16:9) up to 60p to Atomos 6.2K/30p (3:2)
4.8K/60p (16:9) 1.29x crop
to Atomos or Blackmagic 5.8K/30p (4:3)
5.7K/60p (1.9:1)
4.4K/60p (4:3)
DCI 4K/120p Viewfinder 3.86M dot OLED
0.8x mag 3.86M dot OLED
0.76x mag None 5.76M dot OLED
0.8x mag 3.86M dot OLED
0.8x mag HDMI Full-sized Full-sized Full-sized Full-sized Full-sized Audio Up to 4ch with optional XLR2 unit, 32-bit float audio Up to 4ch with optional XLR1 unit Up to 4ch with optional XLR handle Up to 4ch with optional Tascam XLR unit Up to 4ch with optional XLR1 unit Battery life (CIPA) LCD 380 360 570 580 390 Weight
(loaded) 805g (28.4 oz) 823g (29.0 oz) 646g (22.8oz) 660g (23.3oz) 658g (23.2oz)

From a specs standpoint, the GH7's main advantages are ProRes RAW and 32-bit Float audio, both significant features. However, the X-H2S pulls ahead in the rolling shutter race, thanks to its stacked sensor. Fortunately, all of these cameras have relatively fast sensors, so you're unlikely to see much rolling shutter except in extreme situations.

Other than those callouts, the cameras are well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect, designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort that's primarily focused on video and might not be a good choice as a hybrid camera.

The G9 II is an interesting comparison as it shares most of the GH7's video features. If you like Panasonic cameras and don't need the GH7's most advanced video features, it could be a viable choice, particularly if you plan to use it mainly for photos or prefer its body style.

Body and controls

The GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.

There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.

EVF and rear screen

Remember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.

The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.

Audio button and 32-bit Float audio

The GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.

As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit float recording.

All four audio channels are output over HDMI.

Fan

The GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.

Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, in some of the more demanding modes, opening the Thermal Management menu and changing the setting from standard to high may be necessary.

"The GH7 can provide unlimited recording at all resolutions and frame rates"

The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.

Battery

The GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.

The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.

To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.

Initial impressions

By Dale Baskin

As someone who has used GH cameras since the GH1, I'm always excited to see a new model released – not just because I work at DPReview, but because I'm genuinely curious to see how Panasonic continues to evolve the product line.

And it's been a rather interesting evolution over the years. If you're curious, check out this article Richard and I wrote a few years back that looks back at every model from the GH1 through the GH6 and the new features that arrived with each. (Quiz: How many GH models have there been, including the GH7? If you guessed seven, you would be wrong. Better read that article!)

To me, the real innovation on the GH7 is the addition of 32-bit Float audio, not only because it's the first mirrorless camera to include it but because it's so helpful for the type of shooters who often use a camera like the GH7: small teams or individuals working on a budget.

Much of my own video work falls into that category, and I know from experience how easy it is to screw up audio. When you're shooting solo, you're wearing a lot of hats. It's easy to miss a detail here or there, but when that detail is related to audio, the impact can be disastrous.

32-bit Float audio could be a very helpful tool for individual or small teams who do a lot of multitasking while shooting.

Of course, 32-bit Float audio only solves some audio problems: it won't eliminate the sound of a jacket rubbing against a poorly positioned mic or the rumble of a plane flying overhead. But it does give you one less thing to worry about and one less mistake to make.

The addition of internal ProRes RAW recording is a logical one, though it's not the first mirrorless camera to get internal ProRes RAW (The Nikon Z8 and Z9 already support it). There was a time when you could count on the GH series to be first across the line with new features like this, but the rest of the market is catching up.

And that's OK. I don't think the GH series needs to be first to market with every new video feature to be successful. There was a time when that mattered more, but mirrorless cameras have become so good at video in recent years that new features often count more as refinements than game changers. It's a sign of a maturing market and a maturing GH line.

I'm also glad to see the GH7 receive expanded access to Panasonic's real-time LUT system and integration with the Lumix Lab app. As a camera reviewer, I don't think I fully appreciated the value of real-time LUTs until I started using them on the Lumix S9, where they're a core part of the camera's experience.

"I don't think the GH series needs to be first to market with every new video feature to be successful."

Once I started using them for photography, I really enjoyed the experience. It's a bit like using film simulations on a Fujifilm camera, except that I can create my own simulations, and the Lumix Lab app makes it ridiculously easy to do so. While I've mostly focused on using LUTs for photos, there's a lot of value in them for videography, too, especially the ability to apply LUTs to proxy files as they're generated.

As I alluded to a moment ago, the GH series has matured a lot over the years, with improvements counting as refinements rather than revolutionary updates, and that may be the most important thing to recognize. To me, the real sign that the GH series has reached a new level of maturity is that, in many ways, the GH7 is relatively unchanged from its predecessor. Sure, there's some meaningful new technology under the hood, but at this point, it's a matter of making a really good product even better and creating a consistent platform for users to work from, and that consistency of form factor and user experience makes the move from the GH6 to the GH7 about as seamless as possible.

Buy now:

$2199 at Amazon.com$2198 at B&H Photo$2198 at Adorama
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