Frames Per Second: Is a DSLR or a Cinema Camera Right for Your Video?

By Aimee Baldridge

© JON CARR

Carr directed a short documentary about building a custom car using both a Canon C300 Mark II with an EF lens and a Canon XC10.

When Canon's 5D Mark II DSLR was released in 2008, it took filmmaking by storm. In a world where pro cinema camera prices started in the five figures and even professional camcorders captured footage with a distinctly video look and a large depth of field, suddenly there was a sub-$3,000 device that could shoot gorgeous, cinematic motion. For any serious photographer who wanted to get into filmmaking, shooting with the Mark II or one of its similarly priced competitors was a no-brainer. DSLR filmmaking officially became all the rage; even the hit TV show House shot a season finale with the Mark II.

But that was then. According to a recent report by the British market research firm Futuresource Consulting, DSLR sales in the professional video market have dropped from their peak at 31 percent of the market in 2013 and are projected to account for a mere 4 percent of the market by 2019. 

One of the main reasons motion shooters are rethinking the DSLR is simply that the price of dedicated digital cinema cameras has fallen. Numerous models that take interchangeable lenses and offer professional feature sets are now available for under $5,000 from vendors such as Sony, Blackmagic Design, AJA and Canon. These cameras offer advantages over DSLRs, including more built-in tools for motion capture, cine lens mounts, native RAW video formats, and 10-bit color. Design elements and features like focus peaking, zebras, pro audio ports and controls, and neutral density filters built into a camera give cinematographers more precise control and obviate the cost and burden of adding that functionality through third-party accessories. That can be especially advantageous when trying to shoot smooth footage handheld, unlike with a DSLR rig. "You've got this tiny DSLR, but you're strapping it on a shoulder system and there are so many additional things you need to add to make i t truly functional," says filmmaker Jon Carr. "It definitely becomes a little bit cumbersome." 

Carr says there can also be a notable non-technical disadvantage when you've built out a rig for your DSLR: "Once you start getting out on professional jobs, there's something to be said for having something that doesn't look like some sort of hodge-podge rig," he says. "Your producers and clients are expecting you to have a proper cinema camera, something that looks legitimate, versus having this crazy rig built out from all kinds of different pieces."

Many filmmakers who use DSLRs love the look and shallow depth of field they get with interchangeable DSLR lenses. But while these lenses are made primarily for photography, cine lenses offer more precision when it comes to capturing motion. "On a film lens," explains DP David Thies, "the focus throw might be 290 degrees up to 360, so to go from infinity to close focus is a good long roll around the barrel of the lens. If you're a first AC and you're pulling focus and you've got someone coming from 50 feet walking up to 6 feet, you need that slow focus pull to be able to keep them in focus." Still lenses typically cover the distance with much less movement of the lens, making it hard to manually track moving subjects accurately. "It's a lot easier pulling focus when the depth of field is going around the barrel instead of just an inch," Thies says. 

While there have been a number of DSLR-mount cinema lenses introduced recently, filmmakers who like cine cameras say their advantages continue after the shoot as well, since they generally support formats and in-camera processing that DSLRs don't. Often with DSLR footage, says Thies, "you take it into post and start trying to do slight color correction, and things start falling apart." 

Many DSLR filmmakers have addressed this issue with third-party tools such as the Magic Lantern firmware add-on that can be used to enhance Canon's EOS cameras in numerous ways. As independent filmmaker Theo Anthony explains, the enhancements are significant. "It really punches it to an incredible level where people think I'm shooting on a $100,000 camera when it's just this little dinky camera," he says. But there are significant costs in workflow efficiency and storage requirements to this workaround. Anthony explains, "It records to this proprietary format, and then you have to convert that to DNG, and then with the DNG you have to do a proxy that you edit off of. It also takes up so much space. It almost brings you back to this conception of limited media on film: Like on film you have 15 minutes of footage on a 35mm roll." 

Cine cameras aren't the only alternatives filmmakers are trying. Some of the strongest competition has arisen from the new breed of small mirrorless cameras that are priced to compete directly with DSLRs. The most popular models for motion shooting—like Panasonic's GH4 and Sony's a7 series—offer video features that DSLRs don't, including 4K capture and the ability to apply Look Up Tables (LUTs) such as Sony's S-Log to preserve more detail and allow higher-quality color grading. They offer the same lens interchangeability and often include the full-frame sensors that have made DSLRs popular, and even models with smaller sensors, like the GH4, can simulate the shallow-depth-of-field cine look with a Metabones Speedbooster. Mirrorless cameras also generally don't have the limits on video recording time and overheating problems typical in DSLRs. Of course, they do still require the kind of rig-building and accessorizing that DSLRs need to offer adequate physical contro ls, with some filmmakers even adding weights to their mirrorless rigs to give them the heft required for smooth handheld work. 

What kind of camera filmmakers opt for often depends on the kind of camera work required. DPs opt for cine cameras when they need the ergonomics and the polished look that those cameras deliver. They're usually the choice for a principal camera, whereas independent filmmakers who work on smaller productions often favor the portability and very competitive prices of DSLRs and mirrorless systems. As a longtime 5D shooter, Anthony says of his impending switch to a mirrorless camera, "I know how to crank really good performance out of a smaller package. I like to keep things very simple and mobile." 

Mirrorless cameras are making inroads into the world of larger-scale, high-production-value shooting as well, but often not as principal cameras. "I just did a camera test with an a7R II, using it as C or D camera," says Thies, who regularly shoots for television and commercials. "That little camera really blew me away. It was holding a good 13 to 14 stops. When you were shooting [in] S-Log, once you brought [the footage] into post and did some color correction, you could cut it in and no one would know that it was [from] a small camera."

All of this is not to say that DSLRs don't remain a valuable tool for filmmakers who are working on a shoestring—or who simply feel that the DSLR look is the best choice for expressing a film's intent. For someone with a strong vision and a tight budget, a $650 Canon EOS Rebel T5i can be a very attractive proposition. As Richard Crudo, president of the American Society of Cinematographers reminds us, it's ultimately what filmmakers do with the tools within their reach that counts more than the technical distinctions between them. "All this nonsense about technology, it's really getting old," says Crudo. "It's boring and it's irrelevant, and it gets everybody off the real topic, which is who's got a good story. If you've got a good story, I don't care if you shoot it through the bottom of a Coke bottle. It's going to sing." 

Related: 5 Affordable 4K Video Cameras [Updated] 

The Funding and Distribution of a Feature-Length Documentary

Combining Still and Video Productions: Josh Rothstein for Cadillac and Esquire 

Source: Frames Per Second: Is a DSLR or a Cinema Camera Right for Your Video?

B&H Photo Video to Host: Fujifilm Learn & Explore Mirrorless Camera Event

Fujifilm X System: Total Overview of the Most Exciting and Capable Mirrorless Camera Systems

NEW YORK, NY--(Marketwired - February 28, 2016) -  Fujifilm, the legendary Japanese film, optics and camera company, launched the eagerly awaited X Series system of mirrorless cameras in 2012. Pros and advanced hobbyists alike flocked to use the X-Pro1, X-T1, and X-E cameras along with an astonishing array of lenses that produced hitherto unavailable levels of quality in a compact camera design. Three years later, the Fujifilm X Series lineup has quickly built on their first versions of cameras with second and third generation cameras that have exciting new features, faster autofocus and a full lineup of available optics from super-wide, macro, and ultra fast primes to telephoto and compelling zooms. The system is so expansive that it turned our speaker Justin's hair 18% grey. The B&H Event Space is pleased to host a slide show and open house featuring the entire line up of the X Series system. Learn which camera is the perfect choice, try out the full lineup of lenses and become familiar with the X system. For those who are already using the Fujifilm system, stop by and get hands on the newly announced Fujifilm X-Pro2. These cameras represent a significant achievement in photographic gear and B&H is pleased to offer them to the great photography community.

Fujifilm X-Pro2 Mirrorless Digital Camera

http://www.bhphotovideo.com/c/product/1210892-REG/fujifilm_16488618_x_pro2_mirrorless_digital_camera.html

You can self-register here to guarantee a seat for the Fujifilm learn-and-explore event:

http://www.bhphotovideo.com/find/eventDetails.jsp/id/2270

B&H Photo Video is an authorized Fujifilm dealer, with the most up-to-date Fuji product information, product pricing and promotional offers.

About B&H Photo Video

As the world's largest source of photography, video, audio, and the latest trending technologies, including drones, virtual reality, and 3D Printers, B&H Photo Video is known worldwide for its attentive, knowledgeable sales force, excellent customer service, and fast, reliable shipping. Visitors to the website can access a variety of enlightening articles and educational videos. B&H has been satisfying customers worldwide for over 40 years. 

Latest Trending Technologies

Wearable Technology: http://www.bhphotovideo.com/c/browse/wearable-tech/ci/24005/N/3957447225

Virtual Reality: http://www.bhphotovideo.com/c/browse/360-spherical-virtual-reality-production/ci/29185/N/3705627361

Drones: http://www.bhphotovideo.com/c/browse/aerial-imaging/ci/27989/N/3765401970

Unlocked Cell Phones: http://www.bhphotovideo.com/c/buy/smartphones/ci/24039/N/3955685938

Smart Watches: http://www.bhphotovideo.com/c/buy/smart-watches/ci/24033/N/3957447224

Customers making purchases on the B&H website can now make a split payment with multiple credit cards, a useful feature for those with limited credit on their individual cards. Previously, this method of payment was only available to customers when purchasing by phone or in store.

Many items can now be ordered online and picked up at our NYC Superstore. Add any qualifying items to your shopping cart and select STORE PICKUP. You will then have an opportunity to indicate who will be making the pickup, if it is someone other than yourself. You'll receive an email (up to 45 minutes) after completing your order, indicating that your order is ready for pickup at the B&H SuperStore.

The B and H YouTube Channel has an unmatched wealth of educational photographic content. Our entertaining and informative videos feature product overviews from our in-house specialists, as well as photography industry experts. You can even view the B&H Event Space presentations from many of the world's foremost photographers and interviews with some of photography's most dynamic characters. Tap into this exciting resource by subscribing to the B&H YouTube Channel here. In addition to these videos, the B&H Explora blog presents new product announcements, gear reviews, helpful guides, and tech news written by product experts and industry professionals.

When you're in Manhattan, take a tour of the B&H Photo SuperStore, located at 420 Ninth Avenue. The expo continues all year round in the camera kiosks at B&H. Featuring the newest cameras, the kiosks are manned by manufacturer representatives, who are there to guide you and demonstrate the latest photographic technology. With hundreds of products on display, the B&H Photo SuperStore is the place to test-drive and compare all the latest technology gear.

Image Available: http://www.marketwire.com/library/MwGo/2016/2/28/11G084937/Images/fujifilm_16488618_x_pro2_mirrorless_digital_camera-3aaa5313b94bb4b1ba1cf404334a2f42.jpgImage Available: http://www.marketwire.com/library/MwGo/2016/2/28/11G084937/Images/fuji_x_pro2_mirrorless_digital_camera-fd67b0fc3067b157ba06481e9d01e8e9.jpg

Source: B&H Photo Video to Host: Fujifilm Learn & Explore Mirrorless Camera Event

Unveiled: Sigma 50-100mm f/1.8 Art & 30mm f/1.4 Ultra-Fast APS-C Lenses & MC-11 Adapter; More Info at B&H Photo Video

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Source: Unveiled: Sigma 50-100mm f/1.8 Art & 30mm f/1.4 Ultra-Fast APS-C Lenses & MC-11 Adapter; More Info at B&H Photo Video

Sigma's first mirrorless cameras are exactly what we'd expect

Sigma

Sigma follows up its must-have new lens announcements with a who-wants-it? debut of its first mirrorless interchangeable-lens cameras, the Sigma sd Quattro and sd Quattro H. Sigma didn't release a lot of specs for the cameras (though B&H seems to have them), so it's possible there's some buried treasure in there somewhere. But aside from the Foveon sensor and the Sigma lens mount, there doesn't seem to be anything novel or noteworthy about them. And as yet there's no price for them, and that will factor heavily in just how much even those will matter. Sigma hasn't revealed an expected ship date, either.

The two cameras differ by the sensor. The sd Quattro uses the same APS-C sensor as the Sigma dp2 Quattro line, while the sd Quattro H uses the same sensor technology in the larger APS-H format, which has a focal-length equivalent of 1.3x of full frame, about the same size as the 1.5-inch sensor Canon uses in its G1 X series.

The structure of Sigma's APS-C Foveon sensor.

Sigma

The Foveon X3 sensor is composed of red-, green- and blue-sensitive layers; the top blue-sensitive layer has four times the number of photodiodes as the red and green channels. It uses those to create a luminance channel (that's the image detail), which is then combined with the color data to form the full-color picture. Sigma math -- in which the company defines a "pixel" as a single color element rather than an actual picture element -- takes the 19.6-megapixel sd Quattro and 25.5MP sd Quattro H sensors and claims they're equivalent to 39MP and 51MP Bayer-array sensors, respectively.

As always with the Foveon sensors, my belief is that they might deliver better color and detail than other sensors with similar numbers of pixels, but the spatial resolution of the final files is represented by the lower numbers. Sigma includes a new Super-Fine Detail mode that's really in-camera HDR, but unlike other cameras it merges seven expos ures together rather than two or three.

The magnesium-alloy body is dust- and splashproof, which is nice, and it has an electronic viewfinder, but otherwise the specs are kind of ho-hum. It's fairly large and heavy -- close to the size and weight of a midrange dSLR like the Canon EOS 70D. And it doesn't support video, lacks Wi-Fi connectivity and built-in flash, and has rated continuous-shooting speeds of just under 4 frames per second (and it's not clear if that's with or without autofocus).

Though it's oddly designed, with the sensor section much bigger than the grip, it actually looks fairly comfortable to hold. But overall, unless all you care about is the sensor, they don't seem very compelling; and if the sensor matters that much to you, the sd Quattro H looks like a more attractive option.

Source: Sigma's first mirrorless cameras are exactly what we'd expect

Panasonic to Launch the World’s First 6K Consumer Camera, Report Says

4K video recording is appearing on many new digital cameras these days, but it appears Panasonic is itching to take the industry to the next level. A new report says the company is planning to launch a new 6K mirrorless camera during its fiscal year 2016 (a period that ends March 2017). This would likely be the world's first 6K-capable consumer-oriented camera.The news was published by the Japanese publication Nikkan, which says the camera will be able to recording 6K at 30 frames per second and 4K at 60 frames per second. Photographers will also reportedly be able to obtain 18-megapixel still photographs by extracting single frames from the 6K footage.

If this report turns out to be true, then it seems likely that the camera may be a GH5 that's unveiled at Photokina 2016 this September in Cologne, Germany. Not much else is known about this upcoming camera, so we'll just have to wait and see what develops. Stay tuned.

(via Nikkan via Digicame-info via 43 Rumors)

Source: Panasonic to Launch the World's First 6K Consumer Camera, Report Says

Video: Hands-on with Sony's G Master lenses and the a6300 at CP+ 2016

Published Feb 26, 2016 | dpreview staff

There are lots of new products vying for attention at CP+ 2016, including Sony's a6300 and new GM series lenses for its full-frame mirrorless cameras. And they are getting plenty of attention from show attendees, especially those eager to try out the FE 85mm F1.4 GM's portrait capabilities. We took another look at the a6300 and the GM lenses on display at the buzzing Sony booth in Yokohama. 

See all of our CP+ 2016 coverage

Source: Video: Hands-on with Sony's G Master lenses and the a6300 at CP+ 2016

Olympus PEN-F’s Release Has Been Delayed

If you are a fan of mirrorless cameras, you might have heard that Olympus launched the PEN-F last month. The camera was initially scheduled for a release next month (no word on when exactly), but unfortunately it seems that the camera's release has been delayed, which unfortunately seems to be the trend these days.

According to Olympus Japan (via Photo Rumors), they seem to have suggested that the demand for their cameras has exceeded the supply, hence the delay. "For February 26, 2016 launch of the "Micro Four Thirds System standard," mirror-less single-lens camera that conforms to the "OLYMPUS PEN-F", because we have received your reservation in a very large number of customers, some of our customers the, after the release, I might get time to deliver the product."

Granted the translation is a bit off, but basically the message indicates that the camera's release has been delayed, although unfortunately Olympus did not mention exactly by how long. This means that for all we know, the camera could be released in April, May, or maybe even June, but hopefully the delay won't be too long.

Olympus also notes that to some of their customers who have already made reservations, it seems that despite that your camera might still not make it on time. As it stands, Amazon which had the camera in stock previously, has now listed the device as temporarily out of stock, but do check back with us soon for more updates.

Filed in Photo-Video. Read more about Digital Cameras, mirrorless cameras and Olympus.

Source: Olympus PEN-F's Release Has Been Delayed

Sigma's first mirrorless cameras are exactly what we'd expect

Sigma

Sigma follows up its must-have new lens announcements with a who-wants-it? debut of its first mirrorless interchangeable-lens cameras, the Sigma sd Quattro and sd Quattro H. Sigma didn't release a lot of specs for the cameras (though B&H seems to have them), so it's possible there's some buried treasure in there somewhere. But aside from the Foveon sensor and the Sigma lens mount, there doesn't seem to be anything novel or noteworthy about them. And as yet there's no price for them, and that will factor heavily in just how much even those will matter. Sigma hasn't revealed an expected ship date, either.

The two cameras differ by the sensor. The sd Quattro uses the same APS-C sensor as the Sigma dp2 Quattro line, while the sd Quattro H uses the same sensor technology in the larger APS-H format, which has a focal-length equivalent of 1.3x of full frame, about the same size as the 1.5-inch sensor Canon uses in its G1 X series.

The structure of Sigma's APS-C Foveon sensor.

Sigma

The Foveon X3 sensor is composed of red-, green- and blue-sensitive layers; the top blue-sensitive layer has four times the number of photodiodes as the red and green channels. It uses those to create a luminance channel (that's the image detail), which is then combined with the color data to form the full-color picture. Sigma math -- in which the company defines a "pixel" as a single color element rather than an actual picture element -- takes the 19.6-megapixel sd Quattro and 25.5MP sd Quattro H sensors and claims they're equivalent to 39MP and 51MP Bayer-array sensors, respectively.

As always with the Foveon sensors, my belief is that they might deliver better color and detail than other sensors with similar numbers of pixels, but the spatial resolution of the final files is represented by the lower numbers. Sigma includes a new Super-Fine Detail mode that's really in-camera HDR, but unlike other cameras it merges seven expos ures together rather than two or three.

The magnesium-alloy body is dust- and splashproof, which is nice, and it has an electronic viewfinder, but otherwise the specs are kind of ho-hum. It's fairly large and heavy -- close to the size and weight of a midrange dSLR like the Canon EOS 70D. And it doesn't support video, lacks Wi-Fi connectivity and built-in flash, and has rated continuous-shooting speeds of just under 4 frames per second (and it's not clear if that's with or without autofocus).

Though it's oddly designed, with the sensor section much bigger than the grip, it actually looks fairly comfortable to hold. But overall, unless all you care about is the sensor, they don't seem very compelling; and if the sensor matters that much to you, the sd Quattro H looks like a more attractive option.

Source: Sigma's first mirrorless cameras are exactly what we'd expect

Nikon announces Three new Nikon compact camera that can shoot 4k video

Nikon DL 24-85The more consumer-friendly of the bunch, the Nikon DL 24-85 offers the same 1-inch BSI CMOS sensor and image processing power as the other cameras in the new DL lineup, with almost identical non-lens specifications. Each camera model features a manual focus ring around the lens.

While Sony has steadily rolled out four Sony RX100 models in as many years, Nikon has just announced that three similarly equipped compact cameras will hit the market simultaneously this summer. Especially considering it's already has a premium fixed prime Coolpix A compact, and its own line of Nikon 1 mirrorless cameras use a one-inch sensor. All three cameras have "Dual Detect VR" to reduce the effects of camera shake.

The camera's lens also includes an f/1.8-2.8 aperture to produce natural bokeh in images.

First of all they each have the same 20.8-megapixel one-inch-type (13.2 x 8.8 mm) CMOS sensor which is paired with Nikon's new Expeed 6A image processor. The camera's ISO range is 160-12,800, and there's no low-pass filter for improved rendering of details. In addition to the large sensor/compact body combo, they all have a reason to consider them ahead of Sony's cameras: Ridiculously fast autofocus systems and best-in-class continuous shooting modes.

The Hybrid AF system combines 105 phase-detect with 171 contrast-detect points which allows the camera to shoot at 20 fps with continuous autofocus.

Yesterday we reported that a leaked photo showed what looked like the upcoming Nikon DL compact camera. Additionally, built-in Wi-Fi 3 and NFC remain available to help facilitate easy connection and sharing.

Nikon is no stranger to enthusiast compact cameras, having made ones such as the Coolpix P7800, with its 1/1.7-inch sensor (that's slightly larger than your average point-and-shoot), and the Coolpix A, which packs an APS-C-size sensor more typically found in a dSLR. The Nikon DL18-50, meanwhile, ships around the same time, but with a pricetag of US$850 or thereabouts. While its touchscreen monitor can be tilted, there's no built-in viewfinder, with photographers having the possibility of using the optional tilting DF-F1 EVF with 2,359k dots. The DL24-500 compromises on maximum aperture and size, and in the process shoehorns in a whopping 21x zoom lens which covers everything from a generous 24mm-equivalent wide-angle to an extremely powerful 500mm-equivalent telephoto. When doing this, the focus peaking option (which is available on all of the DL cameras) will be of particular use. As you'd expect, the DL18-50 and DL24-85 are pocketable; the DL24-500, not so much.

The wide 24-500-mm (equivalent) zoom range of the DL24-500 makes it well suited to shooting a variety of subjects from travel to wildlife or sports. The camera also features Dual Detect Optical vibration reduction, AF bracketing and a tilting touch Oled display.

Mason Resnick says, "Optically, Nikon poured everything they've got into the lens, which is complete with aspherical, ED and HRI glass elements to deliver optimal clarity and minimal distortion".

Sanders, Clinton (and guest) speak at same Las Vegas churchThe uphill battle Sanders faces in the Democratic party is undemocratic and illustrates why party politics needs to be reformed. The New Hampshire primary , it's clear, didn't change the dynamic between the two candidates.

Source: Nikon announces Three new Nikon compact camera that can shoot 4k video

Nikon launches DL line of premium compact cameras

/PRNewswire/ Today, Nikon Inc. announced the new DLSeries of premium compact cameras. Ironically, the cameras themselves are significantly improving with each generation, and now provide most of the capabilities previously only found in DSLRs and mirrorless models.

Nikon DL 18-50In his first look at the latest digital cameras from Nikon, Adorama Learning Expert Mason Resnick says, "Leading the charge is the Nikon DL 18-50, featuring an 18-50mm (35mm equivalent) f/1.8-2.8 lens, which Nikon says is the fastest ultra-wide Nikkor lens ever made".

The lenses and physical designs are the main differences between the cameras.

All three DL-series cameras - the Nikon DL18-50, Nikon DL24-85 and Nikon DL24-500 - are based around the same 1"-type, 20.8-megapixel image sensor and a next-generation EXPEED 6A processor". But it's the feature set and performance numbers that move the DL family ahead of Nikon's other compacts. All models come with a hotshoe (ISO 518) to add accessories of Nikon Speedlite flash guns, but only the 24-500mm comes with a built-in electronic viewfinder (EVF) as standard.

"We recognize consumers' desire for smaller cameras capable of outstanding image quality", said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. The shutter speed ranges from 30 seconds to 1/2000 of a second.

In an interesting spin, the Japanese camera company is introducing not one but three new high-end cameras.

4K Video CapabilityThe DL series will be among Nikon's first compact offerings to support 4K UHD video capability [3840x2160] at 30p, affording users the ability to capture incredibly handsome video with remarkable detail, all with a compact camera.

The DL 24-500 f/2.8-5.6 delivers the reach and resolution of a professional super-telephoto lens in a compact package, enabling photographers to take stunning close-ups of wildlife, high-speed sequences of sports and action, low-light videos of concerts and much more.

The models launched are the DL24-85, the DL18-50, and the DL24-500. Just think about that for a moment: 20 frames per second with C-AF, that's faster than best-of-best pro-spec DSLR cameras (although the autofocus ability remains to be seen from the DL line just yet). Even further customization and control is possible utilizing the hot shoe/accessory shoe available on DL24-85 and DL18-50 models that allows for complete system expandability with the DF-E1 optional electronic viewfinder. It also offers Vibration Reduction for shooting with longer focal lengths, as well as RAW image capture, a less common feature among small-sensor cameras.

ADORAMA: More Than a Camera StoreAdorama is more than a camera store - it's one of the world's largest photography, video, audio and computer retailers.

Gujarat Village Bans Single Women From Using Mobile PhonesThe village panchayat also held mobile phones responsible for increasing number of lovestruck youngsters eloping from homes. Vankar claims that phones were distracting unmarried women from their studies and household chores in their village.

Source: Nikon launches DL line of premium compact cameras

Sigma sd Quattro Mirrorless Camera Development

Sigma has announced the development of two new mirrorless cameras, the sd Quattro H and sd Quattro, a replacement and update to the Sigma SD1 Merrill DSLR camera, which Sigma are calling Interchangeable Lens SLR Type Digital Cameras.

Both cameras feature a Foveon sensor, and Sigma SA lens mount to accept Sigma SA (DSLR) lenses. There is a high resolution electronic viewfinder (EVF) on the rear, along with a wide screen. The two models both have Foveon sensors, with the Quattro H featuring a larger APS-H 1.3x crop sensor, and the Quattro features an APS-C 1.5x crop sensor.

Both cameras feature the Foveon Quattro sensor, which has 3 layers of pixels, with a high resolution top layer (blue), followed by red and green layers, so that the cameras capture full colour information at each pixel. Sigma has also announced a number of optional accessories, including a battery power grip (PG-41), with 200% more shooting time, an electronic flash (EF-630) with S-TTL automatic metering, a flash USB dock (FD-11) to enable firmware updates for the flash, and a cable release (CR-31). 

Release date and price is yet to be confirmed.

 

Dual TRUE III image processor

New Super Fine Detail exposure mode

Combination of Phase detection AF and contrast detection AF

Focus peaking function

2.36m dot electronic viewfinder (EVF)

3.0inch 1.62m dot screen

Magnesium alloy body

Dust and splashproof design

Quick set menu

14-bit RAW data

In-camera RAW processing

Higher precision white balance (new algorithm)

Colour modes, Monochrome options

Custom bracketing display

Electronic level

USB3 port

Sigma sd Quattro H

45 megapixel total pixels (25.5 megapixel top layer)

51 megapixel max image size

APS-H Foveon sensor (26.6x17.9mm)

1.3x crop

3.8fps up to 10 images

5.1fps with Low image size (20 images)

 

Sigma sd Quattro

33 megapixel total pixels (19.6 megapixel top layer)

39 megapixel max image size

APS-C Foveon sensor (23.5x15.5mm)

1.5x crop

3.6fps - up to 14 continuous shots 

5.1fps with Low image size (28 images)

The new Sigma sd Quattro cameras will be compatible with the new Sigma 50-100mm f/1.8 Art lens.

From Sigma: The SIGMA Corporation is pleased to announce the SIGMA sd Quattro and SIGMA sd Quattro H, two new high-image-quality digital cameras that incorporate the Foveon X3 direct image sensor (generation name: "Quattro").

Building on the concept of the SIGMA SD1 Merrill, the SIGMA sd Quattro and SIGMA sd Quattro H feature a mirrorless structure and use interchangeable lenses. The two new cameras are as compact and lightweight as cameras in the SIGMA dp Quattro series and offer the same level of outstanding image quality. Featuring the SIGMA SA mount, the two new cameras are compatible with all of the SIGMA GLOBAL VISION lenses in the Contemporary, Art and Sports lines, and they are designed to take full advantage of these lenses' superb optical performance.

The SIGMA sd Quattro features an APS-C size sensor and offers medium-format image quality with 39 megapixels. The SIGMA sd Quattro H features an APS-H size sensor measuring 26.6 x 17.9mm. This new, larger Foveon sensor delivers high resolution of 51 megapixels, for even more detailed expressive power.

 

Foveon X3 Quattro direct image sensor

Leveraging the light absorption characteristics of silicon, the Foveon X3 Quattro direct image sensor comprises three layers of photodiodes, each at a different depth within the silicon and each corresponding to a different RGB color. Since it is the only sensor to use this superior vertical color separation technology, it is also the world's only direct image sensor. Requiring no low-pass filter needed to correct the interference caused by a color filter array, the Foveon X3 Quattro direct image sensor is able to take full advantage of the information carried by light, including color information. The sensor features a pixel ratio of 1:1:4 in the bottom, middle, and top layers and applies the brightness data captured by the top layer to the middle and bottom layers. This unique structure makes possible fast resolution and high-speed data processing.

Two sensor sizes available

Other cameras typically use a single-layer photo sensor covered by a Bayer filter mosaic, which comprises 50% green, 25% blue, and 25% red squares. In contrast, the Foveon X3 Quattro direct image sensor uses no low-pass filter and is able to capture 100% of the data for blue, green, and red in each of its three layers. Due to this unique structure, the Foveon X3 Quattro direct image sensor can generate up to twice the resolution data of sensors using a Bayer filter. The SIGMA sd Quattro has an APS-C-size sensor with 19.6 megapixels in its top layer, giving it an equivalent total of approximately 39 megapixels and the outstanding image quality expected of a medium format camera. The SIGMA sd Quattro H features a newly developed APS-H-size sensor (26.6 x 17.9mm) with 25.5 megapixels in its top layer for an equivalent total of approximately 51 megapixels. This larger sensor takes Foveon image quality to the next level, delivering more detailed images than ever before.

Dual TRUE III for high-speed processing of high-volume data

TRUE (Three-layer Responsive Ultimate Engine) III is the dedicated image processing engine for the Foveon X3 Quattro direct image sensor. SIGMA's original algorithm processes data without loss of color detail or other image degeneration to deliver extremely detailed image expression with a noticeable 3D pop. In addition, by using two separate TRUE III engines, the camera is able to process data from the Foveon X3 Quattro direct image sensor at extremely high speed.

New Super-Fine Detail exposure mode

The new Super-Fine Detail (SFD) exposure mode brings out the full performance of the Foveon X3 Quattro direct image sensor. One push of the shutter generates seven different exposures, creating RAW data in the X3I file format. Using this data with the SIGMA Photo Pro software package, the photographer can create noiseless images with an extensive dynamic range. With this new mode, the more detailed imaging potential of the Foveon X3 Quattro direct image sensor is fully leveraged. From each X3I file, individual X3F files may also be generated. The value of SFD exposure mode is especially apparent in studio photography.

Note: To prevent camera shake, SIGMA recommends the use of a tripod.

Combination of two AF detection methods

Phase detection AF is superior for speed performance, while contract detection AF is superior for focusing accuracy. Combining these two methods in a single system delivers AF that is fast and precise at the same time. In addition, this approach to autofocus takes full advantage of the characteristics of high-performance lenses. The Single AF mode is optimal for everyday photography, while the Continuous AF mode is optimal for focusing on a moving object. In the latter mode, pressing the shutter button halfway causes autofocus to operate continuously, while Movement Prediction AF operates at the same time for more accurate autofocusing. A variety of other AF modes are also available. 9-Point Selection AF mode allows the user to select among nine focus frames. Free Movement AF mode allows the user to select the focus frame with high precision. Face Detection AF mode detects human faces and prioritizes focusing on them. The AF assist light incorporated in the camera body makes possi ble the use of AF even in low-light conditions.

Focus peaking function

This function puts a colored outline (white, black, red, or yellow) around the subject in the viewfinder for instant confirmation of the person or object currently in focus.

High-resolution electronic viewfinder

The high-resolution 2.36 mega-pixel electronic viewfinder features near-100% viewfinder coverage and a 1.09 magnification ratio. The viewfinder incorporates three lenses with the outermost lens specially coated to ensure a clear field of view. Using a switch next to the viewfinder, the user can toggle between displaying the image in the viewfinder and the monitor. In AUTO mode, the camera automatically switches to the viewfinder display when the user is looking through it and to the monitor when he or she is not. This mode allows seamless use of the viewfinder to take photographs and use of the monitor to access settings and confirm results. For extra convenience, many functions of the monitor are available via the electronic viewfinder itself, such as setting values, grid lines, electronic level, zoom, focus peaking and more.

 

Dual monitors

In addition to the 1.62 mega-pixel 3.0 inch TFT LCD main monitor, the rear of the camera features a sub-monitor that displays the number of remaining shots on the SD card, shutter speed, aperture value, ISO level, and more. This extra monitor makes it easy to watch the live view and confirm key information at the same time. A sheet of special material lies between the two LCDs and the protective glass that covers them. This sheet prevents air pockets from forming and minimizes reflections, ensuring excellent display visibility in sunlight.

Tough magnesium alloy body

The exterior and main frame of the camera body feature a tough magnesium alloy. The rigidity and strength of this alloy significantly contribute to the reliability and quality of the camera as a whole.

Dust- and splash-proof design

O-rings and sealing material effectively seal buttons and seams to prevent the intrusion of dust and water, making the camera an excellent choice for pros working under tough conditions.

Dust protector on lens mount

To prevent the intrusion of dust and debris into the camera body, the lens mount features a dust protector sealed with optical glass. Additional sealing around the mount further lessens the chance of dust entering the camera body.

Intuitive user interface helps user focus attention on creative work

Building on the success of previous SIGMA user interfaces, the new UI is more intuitive than ever. Located next to the shutter button, the Quick Set button provides instant access to the Quick Set Menu, which allows the user to quickly adjust commonly used settings while continuing to look through the viewfinder. Located on the top of the body, the LOCK switch prevents the accidental pressing of buttons, helping keep the user's attention on the creative work. The buttons that are locked with this switch may also be customized by the user. Located on the rear of the camera near the selector are several controls for commonly used functions. Easily accessed with the thumb of the right hand, they include the menu button, focus frame button, and AEL/AF button with lever.

Quick Set Menu

Located next to the shutter button, the Quick Set button provides instant access to eight commonly used functions, including aspect ratio, ISO, white balance, and color mode. The user can quickly adjust settings using the selector and front and rear dials. Users can also customize the functions included in the Quick Set Menu and the order in which they appear.

14-bit RAW data

RAW data records the light information captured by the Foveon X3 Quattro direct image sensor. Using 14-bit (16,384 gradations) signal processing to convert the analog output signal to digital results in photographic data with fine gradations that effectively represent the smooth, natural gradations of the original subject. RAW data uses lossless compression that prevents image degradation. Moreover, processing RAW data with SIGMA Photo Pro results in images with incomparable natural balance.

Continuous shooting of up to 14 images in RAW format

The DDR III high-speed, high-volume memory is approximately twice the capacity of that of the SIGMA dp Quattro. This allows the SIGMA sd Quattro to capture up to 14 RAW images (X3F files) in High size during continuous shooting (SIGMA sd Quattro H: up to 10 images). Leveraging high-speed data transfer and processing, the SIGMA sd Quattro offers a continuous shooting speed of up to 3.6 frames per second (SIGMA sd Quattro H: up to 3.8 frames per second). As a further option, when Low size is used, the SIGMA sd Quattro offers a continuous shooting speed of up to 5.1 frames per second and continuous shooting of up to 28 images (SIGMA sd Quattro H: up to 20 images).

RAW onboard data processing

The camera can process RAW data (X3F files) into JPEGs without the need for a personal computer. The user can adjust the exposure correction, white balance, color mode, and aspect ratio while viewing the photographs on the LCD monitor.

High-resolution Super-High size images

A variety of file sizes is available to accommodate a wide range of user needs. Using High-size files brings out the best performance from the image sensor, while using Low-size files increases the number of shots that can be stored in memory. In both of these file sizes, the camera can simultaneously create RAW and JPEG data. In addition, the camera can create JPEG files in S-HI size (SIGMA sd Quattro: 39 megapixels; SIGMA sd Quattro H: 51 megapixels), appropriate for large prints, as well as in S-LO size, which is ideal for online sharing.

Aspect ratio selection

To accommodate various photographic needs, six different aspect ratios are available, including 3:2 (standard), 1:1 (square), 21:9 (similar to cinema widescreen), and 7:6 (similar to 6x7 camera format). When using an aspect ratio other than 3:2, the user may select a black or semi-transparent frame. The semi-transparent frame can serve as a sportsfinder, allowing the user to monitor activity outside the frame. The aspect ratio of images recorded as RAW data can also be changed in SIGMA Photo Pro.

Exclusive SIGMA Photo Pro software

SIGMA Photo Pro makes possible intuitive processing of RAW data, leveraging the full power of the information captured by the Foveon X3 Quattro direct image sensor. Operation is easy: the user simply adjusts horizontal sliders while viewing the photographs to create images that perfectly match his or her vision. In addition, the software turns X3I files created using the camera's Super-Fine Detail function into high-resolution, noiseless images with outstanding dynamic range. Various modes allow the user to take full advantage of the image sensor's fine tones and gradations and create monochrome images of impressive depth.

Higher-precision white balance

A new algorithm enhances the precision of auto white balance, even optimizing white balance in images with multiple light sources. The Auto (Lighting Source Priority) mode leaves the color of light sources intact for extra atmosphere, while the Auto (Default) mode allows the camera to automatically make white balance adjustments. In total, twelve white balance modes are available, including three custom modes. It is also possible to adjust white balance based on the specific image and to set the color temperature in Kelvin. Moreover, each white balance mode can be fine-tuned for detailed correction of white balance and creative filter effects.

Full range of Color Modes

Color Modes can adjust color tones and contrast to best suit each photographic scene. The range of color modes includes Cinema, which reduces saturation and emphasizes shadows for a film-like effect; and Sunset Red, which emphasizes red for more impressive sunset shots. Color Modes make artistic expression easier than ever.

Monochrome options

The Filtering Effect allows contrast to be changed as if the images had been taken using a color filter for black and white photography. The Toning Effect allows warm, cold, sepia, and other color tones to be added to monochrome photos to emphasize the subject in creative ways. SIGMA Photo Pro makes possible optimal monochrome processing of RAW data without any color processing, producing high-resolution monochrome images with exceptional dynamic range and outstanding reproduction of the tones of highlights and shadows.

Custom bracketing display

This function allows the user to take a single shot but save several versions of the photograph with customized white balance, Color Mode, and other settings. This function can be combined with auto bracketing to help increase the chance of getting the perfect shot.

Electronic level

Allowing the user to view the camera's horizontal and vertical position while shooting, this function is useful in precisely establishing composition.

System camera compatible with all SIGMA GLOBAL VISION lenses

Featuring the SIGMA SA mount, the new cameras are compatible with all of the SIGMA GLOBAL VISION lenses in the Contemporary, Art and Sports lines, and they are designed to take full advantage of these lenses' superior optical performance.

Dedicated high-capacity rechargeable lithium-ion battery

The cameras include the high-capacity BP-61 lithium-ion battery and BC-61 charger. The optional SAC-7 AC adapter allows the cameras to run AC power from a wall outlet.

SD card - The cameras are compatible with compact and portable SD, SDHC, and SDXC cards. The cameras feature the UHS-I standard, allowing large volumes of data to be recorded at high speed. The cameras are also compatible with Eye-Fi, allowing wireless transfer of images to personal computers, smartphones, and more when an Eye-Fi card is inserted (sold separately).

HDMI port - The MINI HDMI Type C port allows the user to connect the camera to an HD television with an HDMI cable (sold separately) and view photographs, camera menus, and even the viewfinder image in high definition on a big screen.

USB 3.0 port - The USB 3.0 Micro B port allows the user to connect the camera to a personal computer to download high-volume image files at high speed.

Dedicated cable release - By connecting the dedicated CABLE RELEASE CR-31 (sold separately) to the camera's USB port, the user can release the shutter without touching the camera. This function is useful when the user wishes to release the shutter from a distance, avoid camera shake, or shoot with a low shutter speed.

SIGMA Capture Pro software

SIGMA Capture Pro allows the user to control and capture photographs with the camera via a personal computer. After connecting the camera to the computer with a USB cable, the user can take photos and adjust the aperture value, shutter speed, and other settings. The photographs taken using the software may be downloaded to the camera's SD card, to the computer, or both at the same time. The software also allows the user to continuously shoot a set number of photographs. While connected to the computer, the camera may still be operated and used to take photographs manually.

Source: Sigma sd Quattro Mirrorless Camera Development

Sigma's New Lenses: The 50-100mm f/1.8 DC HSM Art and 30mm f/1.4 DC DN Contemporary

Perhaps a perfect followup to Nikon's D610, Canon's 80D, and even Sony's A7-series releases, Sigma's two new lenses aren't built for full-frame coverage, but instead include a fast, Art-series portrait zoom for APS-C cameras and a fast, f/1.4 normal lens specifically designed for mirrorless cameras that is supposed to offer superb image quality at a reasonable price. In addition, Sony E-Mount users will enjoy the availability of Sigma's new MC-11 Sony E-Mount converter that will allow the use of 19 of Sigma's Global Vision series lenses on many Sony APS-C and full-frame mirrorless bodies.

While pro shooters have anxiously been waiting for Sigma to fill up its line of full-frame lenses, tonight's announcement leaves them in order to give APS-C and mirrorless shooters some love. And for the aforementioned Nikon, Canon, and Sony releases, one couldn't ask for a better start to a more well-rounded set of lens options.

Sigma's 50-100mm f/1.8 DC HSM Art lens provides high-quality, bright, constant-aperture performance in a package that includes internal focusing and a tripod socket, which should be useful to handle this relatively compact, but still hefty lens. Considering the APS-C crop factor, this 50-100mm lens provides angles of view similar to a 35mm-equivalent of 75-150mm, covering all of the most popular portrait shooting focal lengths for any cameras with Canon, Nikon, and Sigma mounts.

Perhaps the most surprising and useful feature of the 50-100mm f/1.8 is that it is a parfocal lens, meaning that once focus is acquired, the lens maintains that focus at all focal lengths. This is particularly exciting for filmmakers, as focusing with such lenses is an order of magnitude easier than with the more common varifocal lenses, which require refocusing as soon as the lens is zoomed in our out.

The 30mm f/1.4 DC DN Contemporary promises Art-line performance while Sigma also promises it will be the world's first high-performance, affordable f/1.4 lens for mirrorless cameras. A normal lens (approximately 45mm in 35mm equivalent), the 30mm f/1.4 will be available in Sony E and micro four-thirds mounts (note: while Sigma's mount conversion service will apply for switching between the different mirrorless mount types in the future, conversion to other APS-C or full-frame non-mirrorless mounts will not be possible).

Finally, Sigma's new MC-11 converter will adapt 19 of Sigma's Global Vision lenses (Canon EF or Sigma SA mounts) for use on various Sony mirrorless cameras. Taking both the camera's in-body optical stabilization (where applicable) as well as that of the Sigma lens, the MC-11 converter ensures accurate and efficient use of all optical stabilization systems available.

In addition, an integrated LED display offers the convenience of letting the user know if the attached body and/or lens is compatible with the adapter and/or if an update is needed to work with a particular lens. The added communication of all of the lens' data through the converter and to the body along with the other features of the MC-11 are sure to make this one of the most advanced mount adapters on the market.

The 50-100mm f/1.8 DC HSM Art is available for pre-order for $1,099 in Canon, Nikon, and Sigma mounts and is expected to ship at the end of April 2016. The 30mm f/1.4 DC DN Contemporary is available for pre-order for a very reasonable $339 in Sony E-mount and micro four-thirds mounts and is expected to ship in mid-March 2016. Finally, the MC-11 converter should ship at the beginning of April for $249.

Are these lenses what you expected from Sigma? Are you pleasantly surprised or disappointed? Let us know!

Source: Sigma's New Lenses: The 50-100mm f/1.8 DC HSM Art and 30mm f/1.4 DC DN Contemporary

Adobe Photoshop Lightroom 2.0 introduces RAW shooting in-app and more

While the mobile photo world has long been focused on firing off quick shots and slapping a filter on them, largely to help to mask the questionable image quality often associated with smartphones, the reality is that in the last couple years, smartphone camera quality has improved exponentially.

Last year, Adobe introduced Lightroom for Android with the goal to allow photographers on Android to manipulate their Lightroom library on the go. That functionality remains and, naturally, has seen a number of enhancements in this 2.0 update. But as you can see from the full list of what's new for Lightroom 2.0, the main focus is the addition of an in-app camera.

An in-app camera, supporting the capture of images in DNG raw format

Shoot-through presets, also available within the in-app camera, enabling previewing and capturing images with a series of built-in presets providing non-destructive editing

Dehaze tool to adjust haze and fog in an image

Split Toning enhancement, enabling the addition of a color cast to the highlights and shadows of an image, creating a uniquely stylized color image or replicating the look and feel of a traditional toned black and white image

Target Adjustment Tool functionality in the Color/B&W editing tool, providing direct, on-image editing controls

Point mode in Curve tool providing complete control over the tonality and contrast of an image

Enhanced sharing with one-tap access to Adobe Premiere Clip for crafting video stories.

It's an important shift in thinking for Lightroom. While photographers aren't going to be giving up their DSLRs or mirrorless cameras anytime soon, the reality is that quality photography can be achieved entirely on a smartphone, and the old adage that "the best camera is the one that's with you" is as true as ever.

Take a look at the before and after images below for an idea of the results possible with the new Lightroom app. These images were captured by photographer Colby Brown on a Nexus 6P. The app is free, so if you like what you see, hit the Via link below to download.

Source: Adobe Photoshop Lightroom 2.0 introduces RAW shooting in-app and more

Living With Canon's PowerShot G3 X

Picking a camera always involves trade-offs. Smartphone cameras are incredibly convenient, because you always have them available and because they have become surprisingly good for their size. But these cameras don't capture the level of detail you might like, especially in low-light, and of course they lack features such as optical zoom. DSLRs take the best pictures, but they tend to be large and expensive, especially if you factor in the lens you will need to buy, and they can be inconvenient to carry. Mirrorless interchangeable lens cameras are a bit smaller and lighter, but can still be complex and inconvenient. Many compact cameras are easier to carry than interchangeable lens cameras and often offer optical zoom and a few other nice features, but most use relatively small image sensors - typically 1/2.3-in. (6.17 by 4.55mm) sensors – so the quality of the pictures leaves something to be desired, and most don't do a great job of capturing motion.

In between, we've recently seen the introduction of several cameras with 1-inch (13.2 by 8.8mm) sensors. They aren't as big as the sensors on DSLRs, but the quality of the images can be quite good, certainly surpassing the typical compact camera and going well beyond your normal smartphone. A few months ago, I tried out a Sony RX 100 Mark IV and loved the quality of the pictures it took. But it had only a 2.9x optical zoom, which is good in a lot of places, but doesn't really help me when I want to take photos at events where the speaker or performer is on a stage far away. For these occasions, I've been using the Canon SX700 series, which offers a 30x optical zoom. I find that it gives me good, but not great pictures, and that it's particularly hard to get good shots of people in motion or in low light.

Into this market comes the Canon PowerShot G3 X, which offers a 1-inch sensor and a 25x 24-600mm (35mm equivalent) zoom lens. I've been trying it out over the past few weeks, and found a lot to like, but also a number of trade-offs.

The G3 X is relatively large, at 4.2 inches deep and weighing 1.6 pounds, in part because of the size of the lens. The larger the sensor, the larger the required lens to get optical zoom, and it does feel extremely solid in your hand, more like a DSLR than a compact camera. Its basic controls will be familiar to most users of smaller Canon cameras, but it adds a number of buttons and rings to give you more control, such as a dedicated ring for adjusting exposure, and a ring on the lens for manual focus. For instance, you can use the normal zoom dial for continuous zoom or another dial for step zoom. In general, I found it pretty intuitive – in auto mode, it functions very simply, and you have many more modes for manual shooting.

I found a lot of the little touches on the camera to be quite nice. It has a 3.2-inch articulating touch screen that pops out, so it is good for taking pictures while holding the camera above your head, for taking selfies, or just for positioning the screen so you can see it better on a sunny day. A little button on the side of the lens will temporarily bring the zoom back in, so you can see how your shot is framed within the overall scene. This makes it easier to track moving subjects. Wi-Fi, which connects the camera to the Canon Connect app on either an iPhone or Android, worked quite well, and also includes NFC. The G3 X has a small built-in flash, but no electronic viewfinder, though it does have a hot shoe for an optional viewfinder or an external flash.

In trying it out, I found the combination of the zoom lens and the larger sensor let me capture some photos I probably wouldn't have gotten with most other cameras, such as this one I captured at a Billy Joel concert.

It's not always easy to keep the picture steady at the longest zoom, but in general I was impressed by the quality of the shots at such a long range zoom. There have been some complaints that at 600mm, the lens steps down to f/5.6, so it captures less light, but in general, I was quite happy with that. Overall, I found the G3 X did a terrific job with image quality in landscapes as well as portrait photography.

For instance, here is a picture of St. Bart's Church in New York at the widest setting.

And here is a detail of the roof.

In other cases, I did notice some limitations. At the default mode it can take 6.4 frames per second of JPEG images with fine compression, though when capturing RAW images with the best compression setting, it goes down to 0.8 frames per second. For capturing motion, I thought it was ok, but clearly not as good as a current DSLR. It also didn't seem quite as fast to focus as I would have liked it to be – not bad, but not great.

The G3 X can take 1080p video at 60 frames per second in MP4 format, and I was able to get good videos in many cases, though sometimes I found the video went out of focus, particularly in longer zoom shots.

The biggest trade-off, though, comes with the size. It's not as big as a DSLR or a mirrorless camera with a similar zoom lens – and a lot lighter than carrying multiple lenses – but it's considerably too big to be pocketable. And with a $999 list price, it's relatively expensive, so many people might be better off carrying a smaller compact camera in most situations and a more versatile DSLR when you really want the best shot. The Sony RX100 IV I tested also took great photos, but had a much smaller zoom, so it was easier to carry.

Still, if you want a simple camera with a very good sensor and a long zoom lens, the G3 X is an interesting choice. It's not pocketable, but it is lighter than an equivalent DSLR setup, and I found the pictures to be quite good, especially in the situations where you can't get as close as you'd like to be.

For more, see PCMag's full review.

This article originally appeared on PCMag.com.

Source: Living With Canon's PowerShot G3 X

Canon updates its best pocket camera and mid-range DSLR

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Canon is still taking things slow with its mirrorless cameras, but one of the company's best compact cameras and one of its best mid-tier DSLRs are getting updated. Today the company announced a second version of both the G7x point-and-shoot and the Canon 80D.

The original G7x was Canon's first camera with a 1-inch sensor, the most popular option for camera companies looking to strike a balance between image quality and portability. (See: the Sony RX100 series.) The new Powershot G7x Mark II is essentially the same camera as its predecessor. It has the same bright f1.8-f2.8 lens, with the same equivalent zoom range of 24mm-100mm. The camera still comes with optical image stabilization. And it's still sporting a 3-inch, 1-million dot, tilting touch screen LCD on the back — though this one tilts in more directions than the one on the G7x.

An evolution of a really good compact camera

The big difference is that the G7x will be the first camera to ship with Canon's new DIGIC 7 image processor. That will not only make the camera faster overall, but it's also going to enable some specific upgrades. The G7x will be one stop better in low-light situations, and those images will contain less noise, too. The DIGIC 7 processor also makes the G7x Mark II much better at focus tracking, whether you're training the camera's AF system on faces, objects, or even fast-moving kids or dogs.

The G7x Mark II ships in May, and will cost $699. Like the original G7x, it sits comfortably below the $1,000 price tag of the newest Sony RX100, but that's because it doesn't offer some features like 4K recording or super slow motion video. (The new G7x's video recording tops out at 1080p at 60 frames per second, which is plenty for most people.) There is increasingly less room at the lower end of this category, though, because Panasonic now sells a 1-inch sensor point-and-shoot camera at $699 with 4K recording. That said, today Canon also announced the PowerShot SX720 HS: another sub-$400 point-and-shoot with a paltry 1/2.3 sensor, a ludicrous 40x optical zoom, and 1080p recording at 60 frames per second.

The 80D is a follow to the 70D, which was released in 2013, and its biggest upgrades are in the image sensor and the autofocus. It uses a 24.2-megapixel APS-C sensor, a step higher than the 70D's 20.2-megapixel sensor, and employs 45 autofocus points, up from 19 in the 70D. Canon combines that here with the "dual pixel" autofocus technology that the company has been integrating into some of its newest cameras, where each image sensor pixel is capable of imaging and autofocusing at the same time. Canon expects that the improved autofocus, plus the added ability to shoot in 60 frames per second at 1080p, will make the camera even more popular with videographers (and vloggers) than the 70D already was.

Canon continues to aim its DSLRs at the videographers of the world, so the company is also announcing a new lens and a few accessories specific to the craft. The lens is a new f3.5-5.6 EF-S zoom with an 18-135mm range. It comes with image stabilization and a new version of Canon's ultrasonic motor technology called "Nano USM." Nano USM blends technologies from the company's USM lenses with the smooth and quiet performance of its stepping motor, or STM, lenses, which are typically better for video. The Nano USM lens will be two to four times faster at autofocusing than its predecessor.

The Power Zoom Adapter is a cool idea, but it's not

There are two video-specific accessories being announced today, too, and the most interesting one is called the "Power Zoom Adapter." It attaches to the bottom of the new 18-135mm lens and allows the shooter to smoothly zoom the lens in an out, mimicking the kind of steady zoom found on traditional video cameras. It's a nifty trick, but you can only zoom at two different speeds, and it's only compatible with the new 18-135mm right now. The other is the Canon Directional Stereo Microphone (DM-E1). It's the first Canon-branded external microphone made for DSLRs; before, customers had to buy these from third party companies like Rode.

The Canon 80D and the EF-S 18-135mm lens will be available in March, and will be sold as a kit for $1,799. The 80D will be available in body-only form for $1,199, and the lens can be bought separately for $599. The Power Zoom Adapter and the microphone won't be available until June, and will cost $149 and $249, respectively.

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Cameras & Photography

Technology & Electronics

Canon

Source: Canon updates its best pocket camera and mid-range DSLR

Camera Catches Thieves Stealing $5,700 in Gear from a Camera Store

Clifton Cameras in the UK is asking for help this week after a CCTV surveillance camera caught two thieves stealing £4,000 (~$5,700) worth of Sony cameras and lenses from the company's camera store in Dursley, Gloucestershire.

The edited 1-minute video above shows one of the suspects handing a $2,000 Sony a7 II and 28-70mm f/3.5-5.6 mirrorless camera kit to his accomplice, who then shoves it into his jacket.

In addition to that kit, the thieves also made off with a $750 Sony RX100 III camera, a $1,000 Sony FE 24-240mm F3.5-6.3 OSS lens, and a $1,500 Sony FE 70-200mm f4 G OSS lens.

"We'd like to point out that this is heavily edited video to show the faces of the thieves," Clifton Cameras writes on YouTube. "The full footage from the CCTV shows that the thieves were approached three times by members of staff when they were in the shop. "

"None of our staff could have preempted that a cabinet was going to be broken open by the thieves," the company says. "The management are satisfied that all members of staff were sufficiently vigilant and professional. This incident has left the staff in our store feeling quite shaken and feeling very responsible."

If you can help identify the suspects in the CCTV video, you can call 01453 548128 in the UK to help the police with the investigation.

Source: Camera Catches Thieves Stealing $5,700 in Gear from a Camera Store

Canon Chases Filmmakers With the Slick New 80D DSLR

Power zoom in action.

Canon's very happy with all the people clamoring to buy their cameras for filmmaking despite not necessarily knowing what words like "rolling shutter" and "aperture" mean. Their latest DSLR is perhaps more explicitly geared towards filmmakers than any camera it's made before.

The Canon EOS 80D follows in the footsteps of the very affordable and very excellent 60D and 70D DSLRs. (And yes, these have mirrors in them—Canon has yet to go all-in on mirrorless shooters.) It's a crop-sensor camera, which means it shoots less of what is in front of it—it also means it's a helluva lot cheaper than the professional "full-frame" models like the Canon 5D series. To be precise, it's a 24.2 megapixel APS-C sensor, for those of you keeping count.

The biggest improvement on this camera is the much improved autofocus system. Utilizing the dual pixel sensor first introduced in the 70D, the 80D manages to squeeze in 45 autofocus points. The 70D, by comparison, has a respectable 19 points of focus.

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You can't see the 45 points of autofocus, but they're there.

The camera also adds another critical detail that's important for filmmaking: a Headphone jack, so you can monitor the audio that's being recorded by either built-in or external microphones.

Overall, this is a solid camera, especially if you're in the market for a midrange shooter with some powerful filmmaking powers. That said, Canon's hardly reinventing the wheel here. The 80D is merely a solid improvement on an already solid camera. There's no word on price but the 70D launched at $1099 and the comparable Nikon D5500 launched at $849.

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While we're on the topic of things that are solid but unremarkable, let's turn our attention briefly to the Canon G7 x Mark II that ships in May for $700. We dug the hell out of the Mark I back in 2014 and, barring some awful and unforeseen issue with its improved face tracking we'll probably like the G7x Mark II too.

Which is why we're pleasantly distracted by the accessories Canon announced. Besides a new kit lens (18-135 f/3.5-5.6 USM), which will be great for people who don't know anything about lenses, Canon also announced its own shotgun mic (DM-E1) for $249 and Power Zoom Adapter (PZ-E1) for $119.99. Both accessories are worthless for budding wedding photographers, but super budget friendly accoutrements a filmmaker might enjoy.

Those same filmmakers could go spend more money: they could get a proper audio set up and hire someone to pull focus for them. Or they could spend $369 and be "good enough." Canon's banking on that and there are rumors that this is just the first volley in a new war for filmmakers' money. Get your wallet ready.

Contact the author at alex.cranz@gizmodo.com.

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Source: Canon Chases Filmmakers With the Slick New 80D DSLR

AllCameraDeals: Canon, Fujifilm, Nikon, Sony and more!

This blog post was syndicated from AllCameraDeals.com

Hey folks, we've got a lot more deals today:

– Adorama's best deals

– B&H Photo's best deals

– Amazon's Best point and shoot cameras

– Amazon's most gifted cameras and Best selling DSLRs.

– Best selling mirrorless cameras

– Lots of lens deals

Canon

– Canon 24-70mm f2.8 L II: $1,799

– Canon 70-200mm f2.8 L IS II USM: $1,999

– Canon EOS Rebel SL1 Digital SLR with 18-55mm STM Lens: $499

– Canon EOS 6D 20.2 MP CMOS Digital SLR Camera with 3.0-Inch LCD and EF 24-105mm f/4L IS USM Lens Kit – Wi-Fi Enabled: $1,999

– Canon 7D Mk II with Pixma Pro printer package: $1,549

– Canon 5D Mk II: $2,499

– Canon 50mm f1.4: $349

– Canon 100mm f2.8 L IS: $849

– Canon T5 bundle: $499

Nikon

– Nikon D750 with 24-120mm lens: $2,296.95

– Nikon D750 FX-format Digital SLR Camera Body: $1,996.95 or even cheaper

Sony

– Sony Alpha a6000 Mirrorless Digital Camera with 16-50mm Power Zoom Lens: $648

– Sony a5100 16-50mm Mirrorless Digital Camera with 3-Inch Flip Up LCD (White): $598

– Sony Alpha a5000 Mirrorless Digital Camera with 16-50mm OSS Lens (Black): $448

Fujifilm

See all the current Fujifilm listings on the Fujifilm page

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Source: AllCameraDeals: Canon, Fujifilm, Nikon, Sony and more!

Canon bolsters dSLR video options with new lens and power-zoom accessory

Continuing its trend of enhancing the appeal of dSLRs for shooting video, Canon rolled out a new version of its 18-135mm f3.5-5.6 lens with a couple of important upgrades over the current model. The Canon EF-S18-135mm f3.5-5.6 IS USM incorporates a new motor designed to provide quiet video performance, much like its STM stepper-motor lenses but with the improved still-photo focus speed of its higher-end ultrasonic motor, along with a connector to support the company's new power-zoom adapter accessory.

The new lens will be priced at $600 (directly converted, £420, AU$836), only $50 more than the STM version (which currently runs £320, AU$590), and will ship in March as a kit lens for the EOS 80D. The Power Zoom Adapter PZ-E1 will follow in June for $150 (directly converted, £105, AU$210).

Canon dubs the motor tech "Nano USM," and says that it provides STM-like smooth autofocus, but offers 4.3x faster focus at 135mm and 2.5x faster AF at 18mm.

The power-zoom adapter is a unit that locks to the bottom of the lens and allows you to drive the zoom via a camcorder-like zoom switch that mechanically turns the zoom ring, at speeds from 2.4 to 14 seconds to traverse the entire focal range. There's a manual-zoom override, and it runs on 4AAA batteries. It will only work with lenses equipped with the connector, which for now means just the 18-135mm USM.

It does zoom quite smoothly, and though clunky looking makes a good handhold or rest to prop up the camera. Unlike most power-zoom lenses for mirrorless interchangeable-lens cameras, it doesn't compromise the optics to collapse into a smaller package, which means ultimately support could be incoprorated into higher-end lenses. And you'll be able to control it via Canon's remote-shooting app. The one thing I wish it had was the ability to program start and stop focal lengths.

It's an interesting approach, but it also feels like a stopgap; that there should be some more elegant solu tion forthcoming, one that might support legacy lenses instead of just future lenses. Especially since I doubt Canon will start putting the connector on all upcoming lenses, just selected ones.

Canon also introduced an accessory directional microphone, the Directional Stereo Microphone DM-E1, which it plans to ship in June for $250 (£175 and AU$348, directly converted).

Source: Canon bolsters dSLR video options with new lens and power-zoom accessory

RESEARCH SNAPSHOT: Mirrorless cars

Continental's prototype mirrorless car.

Given that wing mirrors add weight, cost and wind resistance to the car, it is not surprising that some automakers wish to eliminate them thereby creating a sleeker look.  As suppliers anticipate a change to mirror regulations, many are developing mirrorless systems using vehicle mounted cameras and dashboard monitors. Here is our snapshot of who is doing what.

'Mirrorless cars' use video systems and dashboard screens to increase the driver's field of view, typically eliminating the blind spot by stitching together a panoramic view of what is behind and to the side of the car. Although mirrorless cars will take time to get used to, most solutions we have seen feature high-resolution screens located close to where a driver would glance to check the wing mirror. Some mirrorless technologies assist the driver further by automatically adjusting to reduce sunlight glare or intensifying levels of brightness while parking.

Valeo's Sightstream

For its part, Valeo used the 2015 IAA to present its so-called Sightstream, a new camera system that replaces conventional rearview mirrors.  Removing the interior rearview mirror also makes it possible to redefine the rear of the vehicle, which can be narrowed. In a US first, Valeo used the 2016 consumer electronics show (CES) in Las Vegas to also highlight this system where visitors could test drive a prototype. 

BMW's concept

And one reason BMW why hogged some of the limelight at the recent CES was due to its mirrorless concept of the hybrid i8 supercar. Here, three wide-angled 'smart' cameras mounted on the doors and rear window replace the rearview mirrors. The image of the car's immediate surroundings is fed back to a display positioned in place of the interior rearview mirror.

JLR's 3D solution

Jaguar Land Rover's (JLR) research team is also looking at technology that could replace mirrors with cameras and virtual displays. Using two-dimensional imaging to replace mirrors is limited by the fact that single plane images on a screen do not allow the driver to accurately judge the distance or speed of other road users. JLR has therefore developed a novel 3D instrument cluster, which uses head- and eye-tracking technology to create a natural-looking, specs-free 3D image on the instrument panel. Cameras positioned in the instrument binnacle or steering column area track the position of the user's head and eyes. Software then adjusts the image projection in order to create a 3D effect by feeding each eye two slightly differing angles of a particular image. This creates the perception of depth which allows the driver to judge distance.

Audi's vision

We are also told mirrorless technology is coming on the Cadillac CT6 while Audi has already toyed with the idea in its Le Mans racers. Continuing the digital theme, Audi's vision is demonstrated in its R18 Le Mans prototype that has no rear window. Instead, it features a digital rearview mirror. A small camera located at the rear of the car relays images to a 7.7-inch digital screen in place of the interior rearview mirror.

Continental's prototype

For its part, Continental is using a prototype vehicle to demonstrate just how a camera monitor system can be used to replace a car's exterior and interior rearview mirrors. During an interview with just-auto, Marc Simon, Project Leader for Mirror Replacement at Continental's Chassis & Safety Division said: "Our approach uses three ADAS [advanced driver assistance system] cameras mounted on the test vehicle chassis with an opening angle that avoids any blind spot area on the side of the car. Therefore accidents based on missing perception of this area can be reduced. To provide the best possible display of the lighting conditions on the monitors, the cameras are equipped with a High Dynamic Range (HDR) function that reduces a bright sun, for example, to a white surface without flare. HDR also improves visibility at dusk through brightness improvement." 

The camera image is displayed on two dashboard integrated displays using OLED (Organic Light Emitting Diode) technology. "Our camera monitor system has different advantages compared to conventional mirrors," adds Simon. "Initially efficiency enhancement regarding air drag reduction and therefore fuel and CO2 output reduction were focus of this system. After our evaluation the system can also increase safety for the driver based on the mentioned blind spot avoidance, better visibility in dark or night situation due to the HDR mode as well as blinding avoidance from rear sunlight or head beams."

Magna's invention

MILA (which stands for Magna Innovation Lightweight Auto) is the supplier's innovation and technology brand. While we have seen incarnations of the brand over the years, it was a real treat to get up close and personal with Magna's mirrorless car this week at the supplier's North American HQ in Troy, Michigan. Magna has actually been demonstrating mirror replacement systems since 1998. "With our intuitive implementation the switch from looking at a mirror to looking at a display in the A-pillar feels natural to the driver," said Eduardo R. Corral-Soto, Vision & Machine Learning Algorithms R&D Team Leader, Magna Electronics while demonstrating the technology. "Our camera technologies further enhance the driver awareness by covering the blind spots that otherwise exist in conventional mirrors. Also by detecting and warning the driver for vehicles in the blind spot our mirror replacement camera systems provide an unparalleled user experience."

Are we there yet?

While the mirrorless car technology is already available, the legal framework needs to catch-up. "We can provide the solutions, now it's up to the legislation and the OEMs to decide when it will become commonplace," added Corral-Soto. Back-up cameras have recently been regulated while Tesla (and others) are calling for more flexibility on mirror requirements which date back to a rule made in 1968 (in the US, at least). While changing these rules have taken time and effort, there is some light at the end of the tunnel. Mirrorless cars will be made street legal in Japan later this year. Only in Japan? Well, European legislation changes to ECE R46 based on the ISO 16505 already allow for mirrorless cars and road testing is set to begin this year.  We should therefore expect some announcements from European automakers shortly.  Changes to the relevant regulation in the US may take a few more years, however. In the meantime, mirrorless trucks could come be on the horizon. Last sum mer, Daimler Trucks North America successfully petitioned the NHTSA requesting camera-monitor systems as a compliance alternative to rearview mirrors. Since then, Daimler has been testing autonomous tractor-trailers in the state of Nevada that use screens instead of wing mirrors.

Source: RESEARCH SNAPSHOT: Mirrorless cars