Canon EOS M3

editor rating: good

Comments

October 30, 2015

Pros

Sturdy, compact body. Tilting rear touch display. In-body flash. Wi-Fi with NFC. Mounts Canon SLR lenses via adapter.

Cons EVF is an expensive add-on. Slow autofocus. Limited shooting buffer. Cramped controls.

Bottom Line

Canon takes a big step forward in the mirrorless camera market with the EOS M3, but it still lags behind the competition.

By Jim Fisher

Canon's first mirrorless camera, the EOS M, debuted to little enthusiasm or praise. Lack of autofocus speed—one of Canon's big strengths in the SLR world—had a lot to do with that. The company stepped out of the U.S. mirrorless market for a while, but has come back with its third-generation camera, the EOS M3 ($679.99, body only). The M3 certainly focuses faster than its predecessor, but it's still slow when compared with other mirrorless cameras. When you couple that with the M3's relatively high asking price, you have a camera that's a tough sell, despite its Canon pedigree. Our Editors' Choice for mirrorless cameras is still the Sony Alpha 6000, which is less expensive, focuses faster, and includes a built-in EVF.

DesignThe EOS M3 is one of the smaller mirrorless models out there with an APS-C image sensor—the same size you'll find in a Canon Rebel SLR. It measures 2.7 by 4.4 by 1.7 inches (HWD) and weighs about 12.9 ounces without a lens. You can go smaller if you can live with a Micro Four Thirds sensors; Panasonic offers a pair of very compact models, the GM1 and GM5, both of which measure just about 2.3 by 3.9 by 1.4 inches and weigh under 7 ounces.

We're reviewing the 24-megapixel EOS M3 as a body only, but it's also available in a kit with an 18-55mm zoom for $799.99.

There are ample on-body controls, but I found them to be a bit cramped for my liking. The top plate houses the pop-up flash (to the left of the hot shoe), a mode dial, the power button, an EV compensation dial (at the rear right), an M-Fn button, and a shutter release with the top control dial surrounding it.

Despite a handgrip that is deeper than that of the original EOS M, I found the M3 to be uncomfortable in my hand. Holding the camera as it's designed to be held—with my middle finger resting in the contoured area of the grip, my index finger angled and ready to hit the shutter, and my thumb squeezed into the small thumb rest on the back—caused some undue strain and cramping. If you have smaller hands (my aren't long, but they are wide) you'll likely have a better experience here. For what it's worth, I don't have any issues with the body design of the Alpha 6000, which is a bit wider but otherwise similar in size. Its grip is deeper—deep enough to place the shutter release on its top—and the rear thumb rest area is larger, both of which helped me wrap my hands around the body with more comfort.

While the Alpha 6000 gives rear controls some room to breathe, thanks to a noticeably wide area to the right of the LCD, the EOS M3 crams its rear controls into a very small space. The Record and Play buttons are part of the rear thumb rest, placed just to the right of the small divot where Canon wants you to rest your opposable digit.

Below the thumb rest sits a flat control dial that is surrounded by four buttons. Exposure Lock and Autofocus Area Select sit above it, with Info and Menu below. The control dial supports four directional presses (ISO/Wi-Fi, Flash, Delete, and Manual Focus), and has a center Q/Set button.

The Q button launches an on-screen menu that provides quick access to a number of settings. Two columns, one at the extreme left and the other at the right, run down the LCD. Available settings include the autofocus area, a toggle between single (One Shot) and continuous (Servo) focus, file format, video resolution and frame rate, drive mode, self-timer, white balance, JPG output, automatic brightness correction, metering pattern, and image aspect ratio.

The rear LCD supports touch input, which is pretty standard with recent Canon models. It's a useful implementation that allows you to tap an area of the frame to set the focus point, and to adjust certain shooting settings. Like any good camera touch interface, the screen is there to supplement rather than replace physical controls. As for the quality of the LCD, it's good. The 3-inch panel is very sharp, and it's mounted on a hinge. It can face all the way forward for selfies, but also lets you shoot at waist-level or when holding the camera above your head.

There's no built-in EVF, which is a shame. That's a feature that's more and more common, especially with models that carry the M3's premium price (it's no surprise that Canon's entry-level EOS M10, priced at $600 with a lens, omits an EVF). But unlike the M10, you can use an add-on EVF with the EOS M3. The EVF-DC1 adds a few hundred dollars to the price, but it is an excellent EVF. Still, at that price, it's tough not to just opt for the Alpha 6000, which has one built into the body.

The EOS M3 includes built-in Wi-Fi with support for NFC. The free Canon Camera Connect app for iOS and Android works with the M3 to copy images or videos to your phone or tablet. Raw transfer is supported, but images are converted to the JPG format that your phone can read during the transfer. The app also supports geotagging (you'll need to start the location log prior to shooting, and make sure your camera's clock is synchronized with your phone) and remote control. Full manual exposure controls are supported when using the remote, and you can tap the phone's screen to set the focus point.

Performance and Image QualityThe M3 is a speedier performer than previous entries in the series, but it's still well behind others in responsiveness. It starts, focuses, and fires in about 2.5 seconds, a bit slower than the 1.9 seconds recorded by the Sony Alpha 6000. Burst shooting is available at 3.9 frames per second, but its buffer is quite limited—it can only manage 4 shots (in Raw, Raw+JPG, or JPG format) before slowing down significantly. The Alpha 6000 shoots at 11.1fps for a 22-shot duration when working in Raw or a 48-shot clip in JPG.

Focus speed is also an issue. The M3 requires about 0.3-second to lock focus on a stationary target and capture an image. That's slower than some entry-level mirrorless models, like the Olympus E-PL6 (0.1-second), and certainly slower than the Alpha 6000, which can lock focus in close to no time—0.02-second.

Canon markets an adapter to use EF and EF-S lenses with the M3. It supports autofocus as well, and I tested a few different Canon lenses to see how they performed. The EF-S 24mm f/2.8 STM showed the slowest mark, averaging 0.6-second to lock focus, with the others—the EF 50mm f/1.8 STM, EF 8-15mm f/4L Fisheye USM, and EF 35mm f/2 IS USM—focusing in 0.5-second. 

I used Imatest to check the EOS M3 for noise, which can detract from image quality and introduce unwanted grain when shooting in dim light. The M3 keeps noise under 1.5 percent through ISO 3200 when shooting JPGs at default settings, which is a middling result. I took a close look at images from our ISO test scene on a calibrated NEC MultiSync PA271W display. Detail is quite strong through ISO 1600, with some slight smudging at ISO 3200. There's a more noticeable drop in fidelity at ISO 6400, and pushing the camera to its limits—ISO 12800 and 25600—results in progressively blurry photos. Other cameras in this class do a better job at higher ISOs. The Samsung NX500 captures photos at ISO 12800 that show as much detail as the EOS M3 does at ISO 6400.

See How We Test Digital Cameras

Raw capture is also an option. When shooting in this format the camera doesn't apply noise reduction, so more detail is evident at higher ISOs. And you have the flexibility of using desktop software, like Adobe Lightroom, which can also reduce noise, but does so in a way that better preserves detail. Raw images converted in Lightroom with default develop settings enabled (which does apply some noise reduction to improve color fidelity, but does nothing to compensate for grain) show strong detail through ISO 6400. At ISO 12800 the grain is a little overwhelming, but detail far exceeds the M3's JPG output. The top sensitivity, ISO 25600, shows some detail through the grain, but is extremely noisy.

Video is recorded at 1080p30, 1080p24, 720p60, or 480p30 quality in MP4 format. I had no real issues with the quality of the 1080p footage—it's crisp, with accurate colors, and the slower focus speed actually makes for more pleasing transitions as the scene changes. But with some cameras in this price range offering 4K capture—including the Samsung NX500 and the Panasonic G7—video topping out at 1080p30 is a disappointment.

Audio quality from the internal mic is about what you'd expect. It picks up voices close to the camera with ease, but also catches background noise. There is a stnadard microphone input, along with a mini HDMI output and a mini USB port. Canon includes an external battery charger; in-camera charging is not supported. The battery is the same one used by the Rebel T6s and Rebel T6i SLRs. There is a single memory card slot; it supports SD, SDHC, and SDXC.

ConclusionsThe Canon EOS M3 is a better camera than Canon's first mirrorless model, the EOS M. But the company, which has long been one of the leaders in focus performance in the SLR world, still has a lot of work to do here. The M3 suffers from slow focus, video capture capabilities that are a step behind the times, so-so high ISO performance when compared with similarly priced mirrorless models, and a very limited shooting buffer. Lens selection is also limited at this time, but that's something that will grow.

Despite the drawbacks, the EOS M3 is a Canon, and there are certain aspects to it that will appeal to those invested in the brand. For one, it's compatible with Canon's flash system, so if you're looking for a compact body as an alternative to an SLR you can use the same flashes. And with an adapter you can also mount EF and EF-S SLR lenses. But as it stands, we're not recommending this one to the masses. You should either wait for Canon to catch up, or opt for a mirrorless model that delivers more for the money. The Sony Alpha 6000 is our current Editors' Choice for its strong image quality, speedy focus system, and mature lens library.

By Jim Fisher Senior Analyst, Digital Cameras

Senior digital camera analyst for the PCMag consumer electronics reviews team, Jim Fisher is a graduate of the Rensselaer Polytechnic Institute, where he concentrated on documentary video production. Jim's interest in photography really took off...

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Source: Canon EOS M3

Leica's big mirrorless cam is a 'conscious decision'

Leica, which many have called Apple of the camera industry, likes to buck the trend.

It has done so again with its latest object of desire, the Leica SL (Type 601) 24-megapixel, full-frame mirrorless camera.

One of the hallmarks of mirrorless cameras is their compactness. But the SL is as big and heavy as a high-end DSLR camera.

Yet, according to Mr Stefan Daniel, Leica Camera AG's director of photo product management, bulking up the camera was actually a "conscious decision".

The SL has to be big because Leica wants to fit it with features that professionals require, he told The Straits Times in a recent interview at Wetzlar in Germany, Leica's storied birthplace and current global headquarters.

Such features include a huge 4.4-million-dot electronic viewfinder. The SL's fast autofocusing and image-stabilising features also require ample space in the body, according to Mr Daniel. Then, there is that big 1,860mAh battery.

The need to cater to pr ofessional photographers stem from the heritage that the SL is succeeding.

"From a historical perspective, the new SL is the replacement for the R system," said Leica Camera chairman Andreas Kaufmann. He was referring to Leica's long-discontinued R series of professional SLR system cameras. The last R series model was the R9.

Leica Camera CEO Oliver Kaltner said: "DSLR technology is pretty much fading out, and mirrorless is the new upcoming technology."

In addition, there was a void between the M series (full-frame rangefinder) and S series (medium-format DSLR) in Leica's camera portfolio. The new SL series fills that gap.

"We tried to have a product in each segment of our portfolio," said Mr Kaltner.

He felt the SL will cater to not only professional photographers, but also serious amateurs.

To ensure that current Leica camera users are not left out, Mr Kaltner said Leica made sure that all current Leica lenses can be used with the SL. All Leica T series lenses can be used with the SL without an adapter. The Leica S, M and R series lenses and other third-party lenses can be mounted on the SL with the right adapters.

"Leica is all about sustainable products. Whenever you purchase a Leica camera, you can have fun using it over a long period of time," said Mr Kaltner.

The Leica SL (Type 601) will be available on Nov 16 for $11,000 (body only), with the Leica Vario- Elmarit-SL 24-90mm f/2.8-4.0 ASPH lens ($6,850) going on sale at the same time.

This article was first published on October 28, 2015. Get a copy of The Straits Times or go to straitstimes.com for more stories.

Source: Leica's big mirrorless cam is a 'conscious decision'

Leica T firmware 1.4 promises to boost AF speed and overall camera responsiveness

Published Oct 29, 2015 | dpreview staff

Leica has released a major firmware update for its T (Typ 701) APS-C mirrorless camera. Firmware 1.4 promises to make autofocus twice as fast, while improving touchscreen responsiveness by three times. That's potentially very good news for owners of T, considering the touch-based nature of the camera's interface. The update also makes the camera compatible with Leica's new full-frame SL lenses.

When the full-frame Leica SL arrived, the T-mount turned into the L-mount. Crop lenses intended for use with the T are now designated 'TL', and Leica plans to launch two new such lenses in 2016. The first SL lens, the $4950 VARIO-ELMARIT-SL 24–90 mm f/2.8-4 ASPH, is currently on the market. The Leica Summilux-TL 35mm F1.4 ASPH will be available in Spring 2016, with the Leica APO-Macro-Elmarit-TL 60mm F2.8 ASPH to follow later in the year.

Visit leica-camera.com to download the update.

Press release:

Wetzlar, 29 October 2015. Leica Camera AG presents a new firmware update for the Leica T camera system. Customers wishing to bring their camera up to date can now download the new firmware version 1.4 from the Leica website (www.leica-camera.com). Alternatively, they can update their Leica T as part of a complementary service in the Leica Stores, and receive advice at the same time.

The new firmware version 1.4 enormously increases the speed of the Leica T and improves its entire performance profile. The Leica T, which is now ready to go even faster, is immediately noticeable – evidenced by the Live View mode, which comes on in a fraction of a second. Installing the update improves the camera's autofocus and makes it twice as fast as before. Touchscreen control has also been optimised and now offers response times that are three times as fast, for example in Review mode.

Firmware update 1.4 also expands the portfolio of lenses usable on the Leica T. As the camera shares the same Leica L bayonet mount with the new Leica SL system camera, updating the firmware makes it possible to use the SL lenses on the Leica T. The Leica Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH. will be available from 16 November 2015 and further SL-System lenses, such as the Leica APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 and the Leica Summilux-SL 50 mm f/1.4 ASPH. will follow in 2016.

2016 will also see the launch of two new lenses for the Leica T camera system that bring even greater versatility in all photographic situations. As the Leica T and the new Leica SL share the L bayonet mount, this will be indicated by the designation 'TL' for all new Leica T lenses. The Leica Summilux-TL 35 mm f/1.4 ASPH. will be on sale from spring 2016 and will be joined by the Leica APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH. in autumn of the same year. Together with the Leica Summicron-T 23 mm f/2 ASPH., which is available now, this trio of prime lenses, available for the first time with either a black or silver finish, is impressive on account of its exceptional imaging performance and delivers pictures with the inimitable 'Leica look' and unmistakeable bokeh.

Source: Leica T firmware 1.4 promises to boost AF speed and overall camera responsiveness

Studio tests: Leica SL

It came out of nowhere, a brand-new full-frame professional level mirrorless camera and lens system: the Leica SL. It combines a new lens system (using the existing mount from the T) with an extremely high resolution viewfinder and a sensor based on the one found in the coveted (by some, not all) Leica Q. That's quite a recipe, but is the camera really worth the lavish sum of its parts? We've done some preliminary studio testing, including a dynamic range analysis, and put it in front of our standard test scene. Head to the next page to see how the SL shapes up in our testing.

Click here to start reading our first-impressions review of the Leica SL

Source: Studio tests: Leica SL

Leica SL: Another Option for Lightweight, Mirrorless 4K

Leica has introduced the Leica SL, a full-frame, autofocus camera that shoots 4K video internally and outputs a 4:2:2 10-bit HDMI 1.4 signal with timecode. While the new camera has many features that make it appealing to professional still photographers, the video options make it another serious contender in the compact mirrorless camera category currently occupied by the Sony a7R II and Panasonic Lumix GH4.

How does it stack up against the competition? The new Leica SL shoots 4K DCI in Super 35mm crop mode at 4096×2160, as does the Lumix GH4; Sony's a7R II still beats them both by capturing a 5K resolution frame and reducing it to 4K. Although the SL's autofocus feature challenges the novelty of Sony's a7R II, Leica's ISO range of 50 to 50000 also can't match the ISO peak of 102400 you can get with the a7R II. The Leica SL features V-Log L Gamma, which the Lumix GH4 now does thanks to a recent upgrade (in the latest Lumix GH4R, it's built in). The Sony a7R II, in contrast, features S-Log2 Gamma.

But Leica has put a lot of engineering into this new model, starting with the 24 megapixel full-frame CMOS sensor and its EyeRes integrated electronic viewfinder, which looks to be the highest resolution EVF on the market. Meant to resemble an optical viewfinder in clarity, the 4.4 megapixel EVF gives the user a complete view of the full frame directly from the CMOS sensor and can be magnified .8x for an even clearer view. That megapixel count would give it somewhere above a Quad XGA resolution, topping even Sony's XGA OLED EVF. Sony's OLED technology alone may render those extra pixels needless, but Leica's specs are still impressive.

The bigger question, however, is are those extra pixels in the EVF—and that hip little red circle with the silver script—worth the steep difference in price? The body-only Leica SL, which can be pre-ordered now from B+H or the Leica Store in Soho, is listing for $7,450. The GH4, by comparison, lists for under $1,500. Even Sony's Alpha a7R II, with its 42 megapixel (7952×5304) full-frame CMOS sensor, is a relative bargain at $3,200.

Under the hood the Leica SL is driven by the Maestro II image processor co-developed with Fujitsu Semiconductor Europe and introduced in the company's 2014 S series. It features an extremely fast processing speed—still picture burst rates up to 11 frames per second at full 24 MP resolution or 4K video (specifically UHD) up to 30 fps—but relatively low power consumption and 2 GB of buffer memory. If you want full 409 x2160 footage, you can only shoot at 24 fps. You can also shoot at 120 fps at standard HD resolutions.

The SL weighs about 30 ounces, making it slightly heavier than the Lumix GH4 and the 22.6 oz a7R II. The SL, however, is machine cut from a single block of solid aluminum, which some still consider stronger and sturdier than the magnesium alloy used to make many DSLRs and the mirrorless cameras from Sony and Panasonic. Leica has used aluminum before and my guess is they went with aluminum because that's what customers craved, a cut above a modern alloy that unfortunately still looks and feels like molded plastic in your hands. Except for the on/off button, no other button is labeled on the camera body, adding to the camera's sleek, minimalist design.

Leica will launch three new SL System lenses over the long term, although only the Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH zoom lens will be available when the camera is expected to ship in November. With front glass hardened by an AquaDura coating, the future lenses will include the APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 and Summilux-SL 50 mm f/1.4 ASPH. Existing Leica T/TL-mount lenses will work without an adapter, and all other Leica lenses, including its popular Summilux C primes, will be easily swapped out with the appropriate adapter. The company says the SL has even been specifically engineered to work with its manual M series lenses, another fine fusion of old-school function and advanced yet classic form that Leica does so well.

Source: Leica SL: Another Option for Lightweight, Mirrorless 4K

Leica SL: Professional mirrorless camera comes with fast and sharp autofocus and premium price tag

Leica

Leica has announced the SL (Typ 601), its first full-frame mirrorless camera designed for professional photographers. The premium camera will be sold for $7,450.

In order to withstand a wide range of weather and shooting conditions, the Leica SL has been built using an extremely tough aluminum that has been anodized to repel dust, moisture and splashes of water.

Though the Leica SL is being seen as a competitor for the Sony Alpha 7 series cameras, the Leica SL has actually been in development for the past 3 and a half years. According to Leica representatives, the SL was developed " as a high speed and modern replacement for the Leica R series."

The Leica SL camera features a 24-megapixel full-frame CMOS sensor that has maximum ISO at 50,000. The camera also comes with a contrast detection auto-focus that is described as the "fastest autofocus in the market." It can shoot 11 frames per second with continuous shooting mode with fixed autofocus and 7 frames per second with continuous autofocus active.

The Leica SL also comes with EyeRes, a huge electronic viewfinder (EVF) with 0.82 magnification and the "world's highest resolution of 4.4 million dots." The EVF has a high refresh rate so previews are always smooth and sharp.

Below the EVF is a 2.95-inch LCD touchscreen with 1.04 million dots and a viewing angle of 170 degrees. The display is scratch-resistant and has anti-glare coating.

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The Leica SL will be using the L mount. The first available lens, which will be released at the same time as the SL, is the Leica Vario-Elmarit-SL 24-90mm f/2.8-4 ($4,950). The Leica APO-Vario-Elmarit-SL 90-280mm f/2.8-4 lens will be released early next year, while the Leica Summilux-SL 50mm f/1.4 lens comes late 2016.

The camera is also compatible with Leica T lenses without the need for an adapter. On the other hand, photographers will need an adapter to be able to use the S, M and R lenses.

The Leica SL can also shoot 4K videos at 24/30 frames per second and Full HD videos at 120 frames per second.

The mirrorless camera also has built-in Wi-Fi and GPS. It also features dual memory card slots.

The Leica SL (Typ 601) camera will be available for purchase starting Nov. 16.

 

Source: Leica SL: Professional mirrorless camera comes with fast and sharp autofocus and premium price tag

Mirrorless as the Universal Mount: Brian Smith at PIX 2015

Pulitzer Prize winning photographer Brian Smith has an extraordinary portfolio, with a career shooting celebrity portraits for over 30 years, but like many other photographers he's got one problem - a lot of legacy glass in his closet and nowhere to put it. At least that was the case until he got his hands on his first mirrorless camera. With the versatile sizes of the cameras, availability of many kinds of adapters and the ability to use focus peaking with manual focus lenses, he found that mirrorless became a universal mount for some of his favorite legacy lenses. 

Smith spoke at PIX 2015 about the ability of a mirrorless camera to adapt older lenses, discussing some of his favorite adapters for common mounts including Canon, Nikon, and Leica lenses, and providing tips on getting the best results with legacy glass. See the full discussion below.

See more of Brian Smith's talks at PIX 2015

Source: Mirrorless as the Universal Mount: Brian Smith at PIX 2015

Leica SL: Professional mirrorless camera comes with fast and sharp autofocus and premium price tag

Leica

Leica has announced the SL (Typ 601), its first full-frame mirrorless camera designed for professional photographers. The premium camera will be sold for $7,450.

In order to withstand a wide range of weather and shooting conditions, the Leica SL has been built using an extremely tough aluminum that has been anodized to repel dust, moisture and splashes of water.

Though the Leica SL is being seen as a competitor for the Sony Alpha 7 series cameras, the Leica SL has actually been in development for the past 3 and a half years. According to Leica representatives, the SL was developed " as a high speed and modern replacement for the Leica R series."

The Leica SL camera features a 24-megapixel full-frame CMOS sensor that has maximum ISO at 50,000. The camera also comes with a contrast detection auto-focus that is described as the "fastest autofocus in the market." It can shoot 11 frames per second with continuous shooting mode with fixed autofocus and 7 frames per second with continuous autofocus active.

The Leica SL also comes with EyeRes, a huge electronic viewfinder (EVF) with 0.82 magnification and the "world's highest resolution of 4.4 million dots." The EVF has a high refresh rate so previews are always smooth and sharp.

Below the EVF is a 2.95-inch LCD touchscreen with 1.04 million dots and a viewing angle of 170 degrees. The display is scratch-resistant and has anti-glare coating.

Follow us

The Leica SL will be using the L mount. The first available lens, which will be released at the same time as the SL, is the Leica Vario-Elmarit-SL 24-90mm f/2.8-4 ($4,950). The Leica APO-Vario-Elmarit-SL 90-280mm f/2.8-4 lens will be released early next year, while the Leica Summilux-SL 50mm f/1.4 lens comes late 2016.

The camera is also compatible with Leica T lenses without the need for an adapter. On the other hand, photographers will need an adapter to be able to use the S, M and R lenses.

The Leica SL can also shoot 4K videos at 24/30 frames per second and Full HD videos at 120 frames per second.

The mirrorless camera also has built-in Wi-Fi and GPS. It also features dual memory card slots.

The Leica SL (Typ 601) camera will be available for purchase starting Nov. 16.

 

Source: Leica SL: Professional mirrorless camera comes with fast and sharp autofocus and premium price tag

aluminum body leica SL camera sets new standards in mirrorless technology

oct 21, 2015

aluminum body leica SL camera sets new standards in mirrorless technology

aluminum body leica SL camera sets new standards in mirrorless technology all images courtesy of leica

the leica 'SL' 26 MP full frame CMOS sensor system marks a new era of professional photography made in germany. the match components, from the high-quality lenses to its electronic viewfinder, guarantee exception imaging performance. 

video courtesy of leica

developed especially for the leica 'SL', this electronic viewfinder is the first of its kind to feature 'eyeres' technology. with a latency time below the threshold of perception, this electronic viewfinder offers a final image visible before the shutter release is pressed, which enables optimum control over the final picture in any situation. 

the sensor has ISO sensitivity range from 50 to 50,000

from the beginning, resilience and robustness were at the focus of the leica 'SL's' development. the body components are machined from solid aluminum, precisely engineered seals around controls and in the lenses provide optimum protection against dust, moisture, and splashes for the sensitive technology inside. at the same time, integrated ultrasonic sensor cleaning removes dust and dirt from the sensor. the glass covering the back panel display is extremely scratch resistant and features an anti-reflex coating. all these properties make the camera a great tool for use in the rough, everyday conditions faced by professional photographers. 

the touch-sensitive displaythe camera body is made from high-grade aluminum

video courtesy of leica

the 'EyeRes' viewfinder the mirrorless technology slims the profile of camera bodythe image goes straight onto the CMOS sensor

 'SL' camera offers access to a 145 different lenses

piotr boruslawski I designboom

oct 21, 2015

Source: aluminum body leica SL camera sets new standards in mirrorless technology

Leica's New Mirrorless Camera Is Brilliant but Back-Breaking

You have to marvel at the way Leica dives in to things unapologetically, even when its choices seem like those of a madman. Consider the Leica SL, an entirely new full-frame mirrorless camera. Bundled with a lens it runs over $12,000 and it weighs more than some small boulders. I got to use it for a weekend, and here's what it's like.

Leica is famous for its M series cameras, those classic rangefinders with manual focus and timeless looks. But clearly it is thinking to the future by developing new and modern cameras that aim high in terms of performance and, well, price. The results have been mixed (the blah Leica T and the awesome Leica Q).

The latest is the SL. It's a big huge ol' thing with a 24 megapixel full-frame sensor. It uses a new SL mount for which there are three native lenses: a 24-90mm f/2.8-4, a 90-280mm f/2.8-4, and an upcoming 50mm f/1.4. They are all rival the size and weight of Germany itself.

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There's no doubt that the SL is a high performance camera. In my time shooting with it, I was really impressed with the level of detail produced by the 24-90mm lens and the low light abilities of the sensor. It's not any giant step forward from today's leading DSLRs or mirrorless cams, but it holds its own. It even shoots some really beautiful 4K video in good light, but with a cropped portion of the sensor. Dim light is another story, where quite a bit of muddy noise comes through.

At ISO 6400:

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Focusing is fast, but even though Leica claims it has the fastest focusing of any full-frame mirrorless, it is pretty clearly not as fast as the recent Sony A7r Mark II or A7s Mark II. The difference was enough to for me to notice in casual use, especially in low light. The SL shoots 11 fps bursts, is weather resistant, has dual SD card slots, and a really lovely and large electronic viewfinder.

But really we need to talk about the physical makeup of this thing. When I first picked it up in front of a room of Leica execs, I had to swallow hard to stop from shouting "holy fuck this is heavy." This isn't a DSLR, remember. It's a mirrorless camera—the existence of which is primarily to make quality cameras that are small and light. Oh well! The biggest offender is the 24-90mm f/2.8-4 lens. It's heavy artillery. The optical quality is outstanding, yes. But it's enormous.

Don't get me wrong. The SL is very attractive to look at. It's minimal approach is handsome, but does make for a steep learning curve. The buttons are completely unlabeled and work dissimilarly to most popular cameras. It's the same user interface as the Leica S, apparently. One terrific standout is the little rubber joystick that moves around your focus point. Man, I love that thing.

The Leica SL is highly capable. I just truly don't understand who it's for. Any professional who doesn't mind carrying the weight of multiple bricks will surely choose a DSLR with more lens options and controls. Any non-professional who wants something even somewhat portable is going to go with the better-performing and much much (MUCH) cheaper Sony A7 series, Fujifilm X series, or Olympus OM-D series.

The SL will land at $7450 for the body, and $4950 for the 24-90mm lens (!!!). If you want to save a bit you can use the SL with M-mount manual focus lenses with an adapter, or Leica T lenses which will crop to APS-C size when used.

Look out for this freak of nature early in 2016.

Contact the author at mhession@gizmodo.com.

Source: Leica's New Mirrorless Camera Is Brilliant but Back-Breaking

Sony a7R II Camera

The Takeaway The Good:

This is the first mirrorless camera that truly challenges, and in some ways overtakes, the powerhouse DSLRs that pro outdoor shooters have relied on for years. You get the functionality of a camera like the Canon 5D Mark III packed into a significantly smaller body.

The Bad:

The lens selection for the Sony a7R II is good but not quite as varied as what Canon or Nikon offers. Also, it's going to take DSLR shooters a little while to get used to the ergonomics of this smaller camera. Some people might find it harder to work with just one hand.

The Verdict:

This full-frame camera is a game changer for outdoor photographers because it enables them to shoot magazine-quality images or documentary-quality video without the former bulky pro setup. We've already seen some shooters ditch their DSLR gear, and we suspect more will follow. 

Mirrorless cameras have been nipping at the heels of DSLRs for years now, but they hadn't surpassed them because of their limited functionality. Something was always wrong: Maybe the focus was too slow, or maybe the mirrorless options struggled in low light. That all changed with the $3,199 Sony a7R II. This camera doesn't just match some top-shelf DSLRs—it actually bests them. 

Image Quality

The centerpiece of the a7R II is a 42.4-megapixel backside-illuminated full-frame sensor. Translation: You get a camera with loads of megapixels (you could easily shoot a magazine assignment or billboard with this thing) that also performs exceptionally well in low light. (The backside illumination technology allows more light to hit each pixel). Normally one of those features is better than the other, but the a7R II nails both.

In addition to all that resolution, the a7R II also features a five-axis image stabilization system to help users take crisp video and nonblurry photos in super-low light. There's also the gigantic 50 to 102,400 ISO range for those conditions. 

  Photo: Nick Kelley

Functionality

You can silence the shutter of the a7R II—ideal for travel and wildlife photographers—and it's rated to 500,000 lifetime actuations, or clicks, which means it won't fail even if you use the camera every day for years. Photographers who shoot sports need a whippy-fast, robust autofocus system, and the a7R II delivers with 399 autofocus points that help ensure peak-action shots are always in focus.

It shoots only five frames per second, which might be too slow for some ski photographers who prefer cameras like the 12-frames-per-second Canon 1D-X. But that's still plenty fast for most outdoor sports. 

Video

The a7R II separates itself from the other cameras in Sony's a7 line by offering built-in 4K recording abilities (previous models required an additional recorder). With that capability, plus an impressive dynamic range, a highly gradable s-log2 video format, and stellar performance in low light, the a7R II is a video powerhouse.

Many shooters will use this as their principal rig. Larger productions will likely use it as a second camera or even strap it to a drone. Don't be surprised when ski movies five years from now are shot entirely with this camera.

Ergonomics

Photographers who've used DSLRs for years might not like the ergonomics of the a7R II at first. I found it doesn't fit into one hand quite as nicely as the Nikon D800 or a Canon 5D, and it doesn't feel quite as meaty and steady as a DSLR when you're holding the camera with one hand and focusing with the other.

The buttons and dials are set up differently from any Nikon or Canon I've ever used, so they took some adjustment. But after just a week of playing around, I got used to the new configuration. 

  Photo: Nick Kelley

Weight and Size

The a7R II body weighs 582 grams. For comparison, the Canon 5D Mark III weighs 860 grams. That extra weight makes a big difference over the course of a long ride or route. That weight savings also makes a difference when you're holding up the camera for an extended period of time. 

Inside a bag, the a7R II and its lenses take up significantly less room. You can easily pack two bodies and four or five lenses into something like the F-Stop Lotus. With a DSLR, you might fit two bodies and two lenses.

The Competition

There are cameras on the market with better specs than this Sony. The Canon 5DS has a higher resolution, and Sony's mirrorless a7S is just as good, if not better, in low light. But no other camera has as many top-level features packed into one relatively small body. I suspect DSLR manufacturers like Canon and Nikon, as well as other mirrorless manufacturers like Fuji and Olympus, are currently figuring out how they can build their own cameras with similar specs.

  Specs

Price:

$3,199

Weight:

582 grams

Megapixels:

42.4

ISO Range:

50–102,400

Source: Sony a7R II Camera

Zeiss ups the ante of its full-frame mirrorless lineup with a new 21mm f/2.8 Loxia lens

by Gannon Burgett

posted Wednesday, October 14, 2015 at 12:45 PM EDT

Zeiss has been on a roll and doesn't appear to be stopping anytime soon. Earlier this week, the German optics manufacturer announced the Zeiss Loxia 21mm f/2.8, a super wide angle prime for Sony's E-mount.

Coming in a fair bit wider than its 35mm f/2 and 50mm f/2 siblings, the new Loxia lens is based on the optical design of Zeiss' popular Distagon glass. The optical design consists of 11 elements in 9 groups, including 1 aspherical and 4 anomalous partial dispersion elements.

On a full-frame camera, the Zeiss 21mm f/2.8 has a angular field of view of 91 degrees, making it a great choice for architecture and landscapes. Like the other lenses in Zeiss' Loxia lineup, the 21mm f/2.8 comes with a mechanical deactivation of the aperture click, a process that makes it easier for videographers to adjust aperture more precisely.

Zeiss has posted an album on Flickr for those wanting to take a closer look at the quality of images this lens is capable of pumping out when paired with a full-frame Sony camera.

The Loxia 21mm f/2.8 is set to ship in December 2015 at a retail price of US$1,499. For the full specs, head on over to SLR Gear.

Source: Zeiss ups the ante of its full-frame mirrorless lineup with a new 21mm f/2.8 Loxia lens

Canon M10: A New Entry-Level Mirrorless Camera

Canon today announced the new Canon EOS M10, a new entry-level mirrorless camera that will be sold alongside the more advanced M3, which made its US debut this month.The M10 is designed for the social media generation, Canon says, as it shoots "sharp images that are sure to draw 'Likes'."

It has a compact design and a new retractable EF-M 15-45mm f/3.5-6.3 IS STM kit lens that helps its portability. The lens is able to shorten and lock into a compact size when it's not being used.

Canon notes that the camera is perfect for shooting "selfie moments." The 3-inch, 1.04M-dot touchscreen LCD on the back of the camera tilts up 180-degrees, facing forward so that you can frame yourself in shots.

Inside the camera is an 18-megapixel APS-C CMOS sensor that has an ISO range of 100-12800 (expandable to 25600). The sensor is accompanied by a DIGIC 6 image processor and a Hybrid CMOS AF II that provides rapid autofocus and continuous shooting of up to 4.6 shots per second.

Other specs and features in the camera include Creative Assist mode for adjusting settings and effects, Self Portrait mode, 1080p video recording at 24fps and 30fps, a built-in retractable flash, and Wi-Fi/NFC wireless connectivity.

Here's a short promo video introducing the new M10:

The Canon EOS M10 will be available in black or white starting in November 2015 with the 15-45mm kit lens for $600. There will also be a gray version sold through Canon's online store, in case you're interested. The lens itself will also be available separately for $300.

Source: Canon M10: A New Entry-Level Mirrorless Camera

Canon Unveils The Mirrorless M10 Camera

Canon has launched a new mirrorless camera called the M10, which is designed to be a smaller and more compact version of the newly-announced M3.(Photo : Canon)

Canon has unveiled its latest camera, which is designed to be a little brother to the newly-announced EOS M3, the company's latest mirrorless camera. The new camera is called the EOS M10, and it's essentially a stripped down version of the M3.

On top of being stripped down, the camera has a lightweight body and includes an 18 MP sensor, compared with the 24.2 MP sensor in the M3.

In addition to that, however, the camera is pretty similar to its more expensive counterpart. For example, it offers the same 49-point AF, 1.04 million dot touchscreen, 25,600 max ISO and 1080/30p video.

Canon hasn't yet announced the price for the new camera, however, if the price is considerably cheaper than the $680 M3, the M10 could be a very interesting choice for photographers looking for an APS-C camera. It's not yet known when the camera will be available, however, it will come in black, gray and white color options.

Canon didn't stop at the M3 when it came to announcements, however. It also took the wraps off of a 20.2 MP compact camera called the PowerShot G5 X, which is available for $799 in the U.S. starting now. It can be bought from Canon's online store.

Via: Engadget

© 2015 Tech Times, All rights reserved. Do not reproduce without permission.

Source: Canon Unveils The Mirrorless M10 Camera

Sony Alpha 7R II

editor rating: excellent

Comments

October 09, 2015

Pros

Excellent 42-megapixel image sensor. Superb high ISO imaging. In-body image stabilization. 5fps continuous shooting. Hybrid autofocus system. Hinged rear display. Excellent EVF. Dust- and moisture-resistant design. 4K video capture.

Cons Expensive. Omits PC sync socket. Overly sensitive eye sensor. No built-in flash.

Bottom Line

The Sony Alpha 7R II is a full-frame mirrorless camera that delivers absolutely incredible image and video quality, but it will cost you.

By Jim Fisher

Sony doesn't pull any punches with its second-generation Alpha 7R. The 7R II ($3,199.99, body only) ups its full-frame sensor resolution to 42 megapixels, and it uses a back side-illuminated (BSI) design to keep the low-light performance of its high-res sensor strong. Add internal 4K video recording capability, in-body image stabilization, and a lens system that's getting better and better in terms of selection, and you have a very appealing camera. We're not naming it Editors' Choice—the 24-megapixel Alpha 7 II is a better option for most photographers. But if you want more resolution than the 24-megapixel Alpha 7 II offers, or if 4K recording is a priority, the Alpha 7R II is worth a look—just get ready to open your wallet.

Design and FeaturesThe Alpha 7R II is physically identical to the other current models in the series, the Alpha 7 II and Alpha 7S II ($2,999.99). It's on the bulky side when compared with other mirrorless cameras, but is certainly a more compact option than a full-frame SLR. The 7R II measures 3.8 by 5 by 2.4 inches (HWD) and weighs 1.4 pounds. The handgrip is deeper than first-generation Alpha 7 models, and the metal body feels very solid. The front grip is covered with textured rubber that wraps around the side and to the area where your right hand rests on the back of the camera.

Sony has covered a good portion of the A7R II's surface with controls. The top plate features a locking mode dial, programmable C1 and C2 function buttons, an EV compensation dial that can be set from -3 to +3 EV in third-stop increments, and an integrated shutter release and power switch. All of these are located to the right of the hot shoe, with the shutter release and power switch positioned on the top of the handgrip itself. The locking mode dial is the style that is always locked—you need to hold the center button down in order to turn it.

There are both front and rear control dials—they're slightly off axis, with one at the front of the handgrip and the other positioned slightly to its left, at the top of the rear plate. The Menu button (to the left of the EVF) and the programmable C3 button (on the right, between the eyecup and rear control dial) also run across the top of the rear plate; each is situated at a slight angle.

Running from top to bottom just to the right of the LCD, you'll find a button that can override autofocus or lock exposure when pressed—its function is controlled via a toggle switch. Next up is the Fn button, which launches an on-screen overlay menu of shooting controls. Then comes a rear control wheel, with a center button and four directional presses (by default the left sets the drive mode, the top changes the amount of information shown on the rear LCD or in the EVF, and the right sets the ISO. Finally the Play and Delete buttons sit at the bottom of the rear plate. There's also a dedicated button for recording movies, but it's placed on the right side of the camera—it's easy enough to press when you're holding the A7R II, but you're not likely to do so by accident.

Most of the A7R II's control buttons can be remapped in the menu. You can assign a function to the bottom direction of the control wheel or to the Delete (C4) button, neither of which have a function out of the box. The flat rear dial can also perform a function; past models had this set to direct ISO control out of the box, but it's disabled by default with the A7R II. The functions are displayed in the on-screen Fn menu, which includes space for 12 settings, all of which can be customized.

While I'm generally happy with the A7R II's control layout, there's one capability that is sorely missing. If you use any of the three Flexible Spot AF settings (small, medium, or large), there's no way to move the spot around directly. You need to first press the button at the center of the rear dial in order to use its directional presses to reposition the focus area. This won't bother you if you opt for one of the other focus modes, but for fans of Flexible Spot AF, it's a pain to deal with.

The A7R II has an OLED electronic viewfinder and a hinged rear LCD. The EVF is one of the largest you'll find in a mirrorless camera—its magnification is rated at 0.78x when a standard-angle (50mm) lens is attached. That makes it slightly bigger to your eye than one of the best optical viewfinders out there, the 0.76x finder found in the Canon EOS-1D X. The EVF is also quite sharp, thanks to a 2,359k-dot resolution. Its size and crispness work together to make it easy on your eyes, and when coupled with focus aids like magnification and peaking, it offers a more precise manual focus experience than modern optical viewfinders.

Another advantage to the electronic viewfinder is a real-time exposure preview. The A7R II shows you just how bright your exposure will be in real time by default. This can be disabled for those times when that's not desirable—like when you're working with off-camera studio lights. The A7R II doesn't include an internal flash or a PC Sync socket, but you can use an external trigger like a PocketWizard to fire external flashes at a minimum 1/250-second sync speed.

But, like any EVF, the A7R II's finder can get a little choppy in low light. I found it to be quite smooth in most situations, even a dimly-lit home—but if you're working in a very dark environment, expect some choppiness. The same is true for the rear LCD, which shows the same feed. It's a 3-inch panel with a 1,228k-dot resolution. It's mounted on a hinge, which allows you to view it from above or below, but it doesn't face forward—this isn't exactly a selfie camera. The LCD also lacks touch input support, a feature that is available in more and more mirrorless cameras.

The tilting design is a plus when working at a low angle on a tripod, and also allows you to hold the A7R II at waist-level like you would a medium format camera with a top-down viewfinder. But there's one problem with using the camera at waist level. The eye sensor, which automatically switches the video feed between the EVF and rear LCD, is very sensitive. It turns off the LCD quite liberally, even when the sensor is a good six inches from your body. You can disable the eye sensor and switch to the LCD only via the menu, but that's a pain. Other cameras with EVFs, including the Olympus OM-D E-M1, include a button that can toggle LCD only, EVF, or eye sensor control, eliminating the need to dive into a menu to do so. The A7R II lacks this function. You can set one of its programmable buttons to act as a Finder/Monitor select to toggle between the two, but in order to do that you'll need to disable the eye sensor entirely. It's odd that there's no way to use a single bu tton to toggle between the EVF, LCD, and automatic switching via the eye sensor.

Wi-Fi and AppsAs with the first-generation Alpha 7, Wi-Fi is built into the A7R II. Its basic function, copying images and videos over to your phone, works as expected. Even if you're shooting in Raw only, you can copy images in JPG format over (the camera extracts the JPG that's embedded in a Raw image for transmission), as well as videos recorded in MP4 format. But footage shot in XAVC S or AVCHD cannot be transmitted wirelessly.

Remote control is also available. By default, the included remote software is very basic—it can only be used to adjust exposure compensation and fire the shutter. But you can upgrade it to a more robust version that allows for manual shutter speed, aperture, ISO, white balance, focus mode control, and adds the ability to tap an area of the frame to set the focus point. It is still limited to capturing JPG images, however, so Raw shooters are going to feel a bit limited. In order to download apps you have to create an account with Sony, or log in with an existing one, and connect the A7R II to a Wi-Fi network. This involves quite a bit of typing using an on-screen keyboard; a touch screen would have come in handy for that.

See How We Test Digital Cameras

There are additional apps available beyond the updated remote control. Some are free, like a Direct Upload app to post pictures from the camera to popular sharing apps, and Touchless Shutter, which lets you fire the shutter by waving your hand in front of the eye sensor. But others are priced anywhere from $4.99 to $9.99. I'm glad that Sony is expanding the functionality of the camera via apps, but it's a shame that it has decided to charge a premium for apps when the body is already priced above $3,000.

Performance and Focus SystemThe Alpha 7R II starts, focuses, and fires in 1.6 seconds, just a beat slower than the 1.5 seconds notched by the Alpha 7 II. When set to continuous drive mode it shoots at 5 frames per second, regardless of file format or focus mode. It can keep its 5fps pace for 22 Raw+JPG, 23 Raw, 25 Xtra Fine JPGs, or 36 Fine JPGs before slowing down considerably. It requires about 30 seconds to fully commit a Raw+JPG burst to a SanDisk 280MBps memory card, but can clear a Raw or JPG burst in about 20 seconds. The Alpha 7 II also shoots at 5fps, but can go for a longer duration (25 Raw+JPG, 27 Raw, or 65 JPG); that's not surprising when you consider that it's shooting at 24 megapixels rather than 42.

The Alpha 7R II is a little slow to focus, requiring 0.2-second to lock and fire on our bright light target when paired with the FE 55mm f/1.8. The Alpha 7 II locks in 0.05-second, which explains why it takes the Alpha 7 R II just a little longer to power on, focus, and fire. In very dim light the A7R II locks in 0.7-second, about the same speed as the A7 II. With continuous autofocus enabled our tracking tests, the camera maintains its 5fps shooting rate, with a good, but not quite perfect, hit rate for in-focus shots.

Autofocus is handled by a hybrid on-sensor system. The A7R II uses both contrast and phase detect points to acquire focus. Sony has used on-sensor phase detection before, including in the Alpha 7 II and the APS-C Alpha 6000, but the A7R II is the first model that promises to focus SLR lenses just as quickly as it would with a native mirrorless FE-mount lens.

This allows owners of Sony and Minolta A-mount lenses to use the comparatively inexpensive LE-EA3 ($199.99) adapter and take advantage of the A7R II's focus system, rather than opting for the pricier LA-EA4, which includes its own dedicated autofocus sensor. Focusing off the image sensor itself has another advantage that has nothing to do with cost—there's no need to make autofocus microadjustments to a lens and body pair as is sometimes necessary when using a dedicated autofocus sensor.

But the technology is not limited to Sony lenses. With the right adapter, Canon EF lenses can also be focused at full speed—and it's likely just a matter of time before a similar device for Nikon lenses is available. Sony supplied a Fotodiox Pro Lens Mount Auto Adapter ($109.95) along with the Alpha 7R II for testing. I tried it with several EF lenses, including the EF 8-15mm f/4L Fisheye USM ($1,249), the EF 24-70mm f/4L IS USM, the EF 200-400mm f/4L IS USM Extender 1.4x ($10,999), and the Sigma 150-600mm DG OS HSM Sports.

The results were mixed. I found that, with all but the Fisheye (which focused consistently in the field), the camera would either lock on immediately and easily track moving targets, or it would hunt back and forth, never locking on. The focus mode had a lot to do with it—when I used a wide field with AF-S I had the best luck in acquiring focus quickly. Switching to AF-C made that hit or miss, and using any area smaller than the Wide option made the lens hunt back and forth. Now, your results may vary based on the specific lens you use and the adapter you choose—I didn't have a Metabones adapter on hand to see if its performance was better. But if you're considering the Alpha 7R II specifically as a back to use with Canon EF lenses, it's worth the time and cost of a rental to see how it performs with the specific lenses which you wish to adapt.

Of course, that leads to the question of why you need to adapt lenses at all. One reason may be if you already have a hefty investment in Canon glass and are intrigued by the image quality that Alpha 7R II delivers. Or you could simply be looking to fill gaps in Sony's lens lineup. Despite having a wide range of solid full-frame lenses ranging from 16-240mm, longer telephoto lenses are, to this point, absent.

And, for manual focus, you can use Leica M lenses with the A7R II via a mechanical adapter. Given the high cost of digital Leica cameras like the M Monochrom (Typ 246), it's no surprise that some owners of M lenses look to Sony cameras as a digital platform. We looked at the performance of adapted lenses in detail with the first generation of Alpha 7 cameras. The Alpha 7R II adds stabilization to adapted lenses via an internal 5-axis system, and does a very good job of controlling color shift at the edges of the frame. Certain wide angle lenses, including the original version of the Voigtlander 15mm, are very prone to color shift when paired with digital bodies. When paired with the Alpha 7R II there is no color shift evident, although the corners are still a bit muddy in tems of sharpness. The Voigtlander 15mm is a torture test when it comes to digital sensors, so the lack of color shift is a very good sign for owners of M lenses looking at the A7R II as a digital pla tform. The shot of the headstones directly above was shot with the Voigtlander 15mm lens.

Image and Video QualityWe're reviewing the Alpha 7R II as a body only—Sony doesn't offer it as a kit—but we did benchmark a few different lenses using the camera. They include the Sony 90mm Macro, the Zeiss Batis 25mm, and the Zeiss Batis 85mm. As with other high-resolution camera bodies, it takes care to take full advantage of the sensor's resolution. You'll want to keep your shutter speed shorter than you'd think you need—even with the aid of in-body image stabilization and an electronic first-curtain shutter—and make sure that you're using top-end glass.

I used Imatest to see just how well the A7R II's 42-megapixel image sensor performs across its ISO range. When shooting JPGs at default settings it keeps noise under 1.5 percent through ISO 12800, which is a fine result. There is certainly some in-camera noise reduction going on here, as there is with any JPG engine. I took a close look at images from our test scene on a calibrated NEC MultiSync PA271W display. Detail holds up quite well through ISO 6400, with a slight drop in clarity at ISO 12800. There's another drop at ISO 25600, but it's not until ISO 51200 and the top ISO 102400 setting that I'd consider JPGs to be overly blurred.

Of course, you'll likely want to shoot in Raw format when working with a camera like the A7R II. I converted Raw images using Lightroom CC with default develop settings enabled. Image detail is strong through ISO 25600, and while there's some noise when you push the sensor that far, it's not overly distracting, nor does it detract from detail. Noise is stronger at ISO 51200, and very fine detail is blurred, but it's still a setting that I wouldn't hesitate to use if the shot called for it. Noise is more of an an issue at ISO 102400. I've included pixel-level crops taken from both JPG and Raw images in the slideshow that accompanies this review so you can judge performance for yourself.

At launch time, the Sony Raw format is compressed. A firmware update is coming to add uncompressed 14-bit Raw capture as an option. The effects of the compressed format are most evident in transition between bright light and shadow. Our studio and field tests were shot before the firmware update was available.

The A7R II is a formidable video camera. It supports recording at up to 4K resolution using the XAVC S codec at a 100Mbps rate at either 30 or 24fps. The camera can shoot 4K footage using the full width of the sensor, or you can set it to crop to a Super 35 (roughly APS-C field of view). The cropped footage is of higher quality, as it avoids the pixel binning that is performed when recording in full-frame, but don't feel as if you need to shoot in the cropped mode. If you're looking to capture a very wide field of view, there's no reason not to shoot full-frame.

Standard HD capture at 1080p is also supported. When working with the XAVC S coded at 50Mbps you can shoot at 24, 30 60, or 120fps. When recording in either XAVC format you'll need a fast UHS-3 SDXC memory card. AVCHD and MP4 are also supported at 1080p, and don't require the latest memory cards to work.

The 4K footage is superb. The footage is quite sharp and thanks to the 5-axis in-body stabilization system, handheld video is steadied, even when you're working with a lens that doesn't include its own stabilization system. The footage is saved to a memory card at a 4:2:0 sampling rate, but if you have an external recorder you can take advantage of 4:2:2 output via its micro HDMI port. There's an internal microphone, which is fine for casual clips, but for more serious video projects you can add an external microphone, either via the standard 3.5mm input jack, or by adding an XLR accessory via the hot shoe. There's also a 3.5mm headphone jack for monitoring, and a micro USB port for in-camera battery charging.

Sony also includes an external battery charger, and the camera ships with two batteries. Battery life is a concern with this and other cameras in the series. CIPA rates the Alpha 7R II for 340 shots when using the LCD, and 290 shots with the EVF. Results can vary based on how you use the camera—I managed to get 435 shots and a few minutes of 4K video on a single charge, but I was careful to turn the camera off when not in use. When working on lab tests, which use a self-timer and leave the rear LCD on for long periods of time, I burned through 30 percent of a full charge in about 120 shots, which is more in line with the CIPA rating.

Standard SD, SDHC, and SDXC memory cards are supported. But you'll want a fast UHS-3 SDXC card to get the most out of the camera in terms of shot-to-shot speed and video quality.

ConclusionsThe Sony Alpha 7R II is a worthy update to its predecessor. It improves upon image quality, adds in-body image stabilization, offers improved EVF magnification, adds 4K video, and is more comfortable in the hand. But it comes at a pretty steep uptick in price—the A7R II's MSRP is a full $900 higher than the original Alpha 7R. When we reviewed the first generation Alpha 7 cameras, we awarded Editors' Choice honors to the Alpha 7R, with the Alpha 7 as a strong second-place finisher.

With this generation, however, the results have flipped. Even though its video capture capabilities are limited to 1080p and its image sensor is "only" 24 megapixels, the Alpha 7 II is our Editors' Choice for full-frame mirrorless cameras. The fact that the Alpha 7 II is $1,500 less expensive than the 7R II plays a big part in that, but the simple fact of the matter is that the standard 7 II is plenty of camera for most photographers. The 7R II is more specialized, meeting the needs of shutterbugs after the most in resolution. Sony has another model in the updated family, the Alpha 7S II, which is aimed squarely at videographers—but it's not yet shipping.

Other Sony Digital Cameras By Jim Fisher Senior Analyst, Digital Cameras

Senior digital camera analyst for the PCMag consumer electronics reviews team, Jim Fisher is a graduate of the Rensselaer Polytechnic Institute, where he concentrated on documentary video production. Jim's interest in photography really took off...

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Source: Sony Alpha 7R II

The cat's whiskers: best gear for feline photography

Serious features: Reading the manual for the Olympus Stylus 1s will reward the user. Photo: Supplied

At our place there are two humans and one cat. From time to time our existences intersect, entirely at the volition of the cat. When this happens there may or may not be a photo op.

Unlike dogs, which are so eager to please, cats are, by nature, uncooperative. It usually takes two people – one with a camera and one with a mouse-shaped squeaky toy – to make the haughtily somnolent cat look alert. So we are always on the look out for tips and advice from the pros on how best to photograph the moggy.

Our attention was drawn to a video – you can find it at vimeo.com/136922074 – showing professional "purrtraitist​" Larry Johnson at work. Larry travels around the cat shows of America selling his services to proud pussy owners. (One uses the word "owners" in relation to cats, ironically.) His portable studio is a frame for his several coloured backdrops and a multiple off-the-camera flash setup with umbrellas and, most importantly, he has a toy on a stick to amuse the subject. He waggles the toy with one hand and operates the camera with the other and, we think, is making life unnecessarily hard for himself. He could get the "owner" to waggle the distractor.

Altogether impressive: The Olympus Stylus 1s is a small update on the original Stylus 1. Photo: Supplied

What is surprising in this day and age is the Larry is using a Nikon DSLR for the job. To get down onto the cat's level he has to kneel or crouch, which is both undignified and unnecessary. If he were using a mirrorless camera, like the one reviewed today, he would flip out the articulated LCD and shoot standing up with the camera at waist level. And he could do so without sacrificing image quality. There are a number of APS and full-frame mirrorless cameras from Sony, Samsung and Fujifilm that would give him the enhanced convenience of waist-level shooting with equal or better image quality.

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Some DSLRs do have articulated screens but to use them the camera must be switched into the clunky "live" mode in which auto focus is either intolerably sluggish or, in some cases, doesn't work at all. With a mirrorless camera all functions work perfectly, whether using the electronic viewfinder or the LCD for framing. With some mirrorless cameras setting the critical focal point, exposure and shutter release can all be done simultaneously with the touch of a finger on the screen. Believe us, when it comes to capturing a feline decisive moment this is the technology to have at hand.

OLYMPUS STYLUS 1s

Price: $650 (street price)

THE LOW-DOWN: This camera is a small update on the original Stylus 1, a "bridge" camera with a body form similar to the Olympus OMDs, but with a fixed zoom lens. The 12 megapixel sensor is slightly larger than average in this category which, together with a small pixel count, is good for image quality, especially in low light situations. The 28-300mm lens is constant aperture f2.8 and is self-capping – a nice touch. The electronic viewfinder and the tilting LCD screen are both high resolution. There is a lens-concentric ring that can have different functions assigned to it. Construction quality is first class and the camera feels luxurious in the hand.

LIKE: This is a camera that demands to be taken seriously, which means that time spent reading the user manual is time well spent. The impressive lens and sensor combination produce beautiful jpegs and stunning RAW quality. There is a jpeg setting for Super Fine that, sadly, most people will never find if they don't consult the manual. And the brilliant touch-sensitive Olympus Super Control panel is not activated by default.

DISLIKE: There is a mysterious lever on the front of the camera, labelled f2, which toggles between manual and auto focus. Two Olympus owners known to us have returned from overseas with many out of focus pictures because the lever had been inadvertently knocked into the manual focus position.

VERDICT: This camera is outstanding precisely because it eschews the absurd zoom range and pixel count of its competitors. For anyone looking for the virtues of a mirrorless camera but who doesn't need or want interchangeable lenses the Stylus 1s is an obvious choice. It is not a pocket camera, but it won't add much bulk and mass to a bag. Altogether impressive.

Source: The cat's whiskers: best gear for feline photography