Expert guide to manual focus photography

Despite autofocus technologies, manual focus remains an important feature in photography. Matt Golowczynski looks at how best to use this tool

Nowadays, it seems like almost every new camera arrives with the promise of the world's fastest autofocus for its class, which is understandable given how critical this feature is to a camera's overall performance. Yet manufacturers haven't overlooked the development of manual-focusing systems, with the feature gaining prominence across enthusiast and professional models.

Manual focus can be used to circumvent the weaknesses of modern autofocus systems or issues when using even advanced systems in particular conditions, such as bright sunlight, poorly lit scenes or when capturing subjects that contain fine, repetitive detail – or not enough of it.

There are many more reasons why it continues to be used today. The success of compact system (mirrorless) camera lines, for example, and the availability of various adapters have sparked a resurgence in the popularity of older optics that lack their own focusing motors. Moreover, with high-quality video recording now a prominent feature in many cameras, manual focus is needed for complete control in situations where it is not desirable to place one's faith entirely in one autofocus system or when using lenses developed for one system on another.

Despite its usefulness, there are a number of reasons why using manual focus may fail to produce the desired result – from differences in manufacturing tolerances and maladjustment of parts to the use of inappropriate technique. The following pages examine various techniques that will help you achieve best focus when working manually.

Manual focusing with DSLRs

Manual focus is performed on DSLRs in much the same way as it was on film bodies – through a simple rotation of a lens's focusing ring. Today this can be controlled with far greater accuracy than before, although the design of today's DSLRs presents a few problems. One of these involves the standard focusing screens used in DSLRs and the effect they have on the viewfinder. As it's assumed that autofocus will be used in the majority of situations, DSLRs come with a plain focusing screen that's optimised to keep the viewfinder image bright even with slower lenses, while channelling enough light to the AF sensor to perform autofocus.

Thus, DSLRs cannot display an image through the viewfinder that shows the true depth of field at particularly wide apertures, and will instead display a depth of field at a slightly smaller one, such as f/2.8 – even when you're using a lens with a wider maximum aperture. Not being able to exactly assess depth of field at wide apertures obviously affects your ability to accurately focus. Such assessment is difficult enough because of the potential for very shallow depth of field at wide apertures. One way around this is to replace the default focusing screen with an alternative, such as a screen designed with a split-screen indicator and microprism. This will provide you with an accurate idea of depth of field at such apertures to help you manually focus with accuracy, although the penalty will be decreased brightness in the viewfinder.

Mounting your camera on a tripod will allow you to focus accurately without fear of camera shake

Other potential complications

Modern cameras typically focus using a lens's widest aperture, only stopping down to the selected aperture before the image is taken. This creates two issues. First, even when using smaller apertures, the image you see through the viewfinder does not display the depth of field that will result in the final image. You can engage your camera's depth-of-field preview function as you focus, although your viewfinder 
will darken with smaller apertures.

Then, spherical aberration, which can be problematic in wide-aperture lenses, can result in the best point of focus moving slightly between apertures. Here, the main concerns are the difference between where the image is formed at the aperture used for focusing and the aperture used to capture the image, assuming it is smaller. Too great a shift between these can mean the focus isn't in the optimum position at the time of capture.

Other issues mostly stem from differences in the performance of individual components (the lens, focusing screen, viewfinder, mirror, and so on), as well as any issues from using these in combination with one another. Your camera's focusing screen or mirror could be misaligned, for example, or damaged. Or your viewfinder's dioptre may not be set at the best point for your eyesight.

All of the above should make the advantages of focusing using live view obvious. By removing the viewfinder, focusing screen and mirror from the equation, any room for error is lessened, while the ability to view the scene at a larger size and with greater brightness and clarity than the viewfinder gives you a better idea of where you are focusing.

In live view, focusing uses the actual image projected onto the sensor by the lens, making it inherently more accurate than the phase-detect AF systems on DSLRs. It may also provide you with the option of magnifying into the scene for clarity. DSLRs are also beginning to offer focus-peaking options, although this does not feature as widely as on mirrorless models.

Manual focus on mirrorless cameras

The arrival of mirrorless cameras has allowed manufacturers to craft new lens lines with a fresh perspective, both optically and with regard to external controls. The trend has been for control to shift from the lens's barrel to the camera, and although the vast majority of lenses are still designed with focusing rings, manual focus here usually works in a different manner than that on optics designed for DSLR lines.

Traditionally, focusing rings have had some kind of mechanical coupling to the focusing group. In contrast, most lenses designed for mirrorless cameras work on a principle commonly referred to as 'focus by wire'. Here, turning the focusing ring will instruct the camera to drive the focusing group electronically, with its response and angle of rotation determined by firmware.

Such a set-up usually means there are neither physical stops at either end of the focusing scale, nor any physical markings on the barrel for distance (typically displayed on the camera's viewfinder or rear display). This allows for a simpler lens design, but there can be a minor lag between turning and response. In addition, as the response of the system is often dependent on velocity, it becomes more difficult to pull focus with precision when recording video. For this reason, many videographers will tend to be drawn to mechanically coupled lenses.

To assess focus, magnify part of the scene

Focus peaking

Focus peaking has become a sought-after feature on enthusiast and professional camera bodies, particularly on those intended for video capture (this feature first originated from video cameras). Strictly speaking, focus peaking does not provide an entirely accurate view of what's in focus, but places highlights over details in the scene where edge contrast is highest. The correlation between the two is strong enough for this to be often relied upon as a guide to focus, although how it appears will vary with subject contrast and the lens used, among other things.

Some cameras provide no more than on/off control over this feature, although many recent models have this fleshed out with additional controls. The most common option is control over the colour of the highlight, which you may wish to change to contrast better against your subject. A default white highlight, for example, isn't entirely useful when shooting a predominantly white flower, so a red or yellow option may be preferred.

Another useful but lesser-seen option is the peaking level, which gives you say over the contrast threshold. As a general rule it's useful to increase this level when your scene is high in contrast, or when the lens you're using is particularly sharp, so that the camera only displays the edges that are highest in contrast. If using a lens with an aperture ring, you may also find this useful when shooting at smaller apertures where depth of field may be greater. For the same reason, decreasing it will help you when working with low-contrast subjects and wider apertures, and when using older lenses that may optically lack the bite of more modern designs.

Magnified view

The most accurate method to assess focus is to magnify into the part of the scene that you want to render sharply before manually adjusting your focus; this will give you the clearest idea of what the sensor will capture. Many mirrorless cameras automatically do this as you begin to adjust the focusing ring when using manual focus, jumping back to the original composition once you have finished doing so. Those cameras that don't do this may have the option of being set up in this way.

Alternatively, you may be able to magnify into the scene using your camera's zoom-in and zoom-out controls, although you may find that at extreme magnifications the feed becomes less stable and harder to use, particularly if your camera doesn't have some kind of image-stabilisation system.

On some cameras it is possible to use this in conjunction with focus peaking, which can give an even better idea of what is and isn't in focus. You may find this feature useful when the subject is at a distance, perhaps when using a wideangle lens where the magnification will render the subject much smaller than if it were captured closer to the camera, or in very bright conditions where the screen may be more difficult to view.

Manual focus photography: When to use manual focus on your DSLR

Fireworks

The fleeting nature of fireworks makes them poor candidates for autofocus. When shooting fireworks, you will likely want to focus to a desired point before using manual focus to take the picture.

Shooting through obstructions

When shooting through a fence, railing or window, or when subjects pass between the camera and intended subjects, autofocus systems can become confused. Manual focus is also useful when focusing on window details.

Macro

Manual focus is particularly important when shooting close up, as any small focusing inaccuracies can mean a subject's focal point (an insect's eye, for example) isn't as sharp as the secondary areas.

Panning

Although advanced AF systems can be used to pan many subjects, you can also fix the focusing distance manually beforehand. With this technique, you should ensure the subject remains within the focused area determined by your depth of field.

Light trails

Autofocus is less useful when looking to capture light trails from traffic, unless you can focus on an appropriate fixed point in the scene. In such cases, manual focus, potentially in conjunction with hyperfocal focusing, is a common alternative.

Infrared photography

Infrared rays form an image at a plane beyond that of the visible spectrum, which means the focus has to be shifted to this point manually. Older lenses, and a handful of modern ones, may sport red markings on their barrel to facilitate this.

Using live-view focusing to get manual focus right every time

1. Set up your camera correctly

Even before you activate your camera's live-view function, it's worth thinking about how you will trigger the shot you wish to take, so that you can inculcate a few best practices first. For instance, you are likely to be using your camera when mounted on a tripod, in which case you should disable your camera's (or lens's) image-stabilisation system. The image-stabilisation system can create a cycle of vibrations and vibration correction that can compromise the image's sharpness. You may not need to do this if you know for certain that the camera or lens has an effective means of automatically detecting that it's being used with a tripod. For better sharpness, you should either attach a remote release to your camera or set it to recognise that a wireless option is used, if you have one. If you don't, set the camera to an appropriate self-timer option.

2. Check aperture changes

Turn on your camera's live-view option. Even though you can adjust aperture while using live view, it doesn't mean the aperture physically changes, which can affect depth of field. Another way to view aperture changes is to look through the lens and see if the diaphragm changes size. On cameras that do not adjust aperture in live view, there may be the option of checking depth of field with a specific control.

3. Frame your image

To help frame your image, you may wish to use the autofocus system to get a rough approximation of focus. Depending on what you're shooting, composing could be easier with a grid superimposed over the scene, or an electronic level if your camera has one. Also, adjust exposure settings to suit the scene.

4. Go manual and zoom

Switch to manual focus. Your camera may provide 5x and 10x options or even higher zooms, or adjustment in finer increments. The choice depends on the subject and how much you need to check the subject's details. Turn the focusing ring slowly until the subject is in focus. Very slightly, move your focus back and forth a few times to ensure accurate focusing.

5. Check depth of field and release the shutter

If you know your camera isn't physically adjusting the aperture as you change magnification, make sure there's some way of checking depth of field accurately, and move around the scene using your camera's directional controls if necessary. Zoom in to your chosen subject to check any adjustments.

Visual notifications on camera

As with certain film bodies, it's often possible to use manual focus on a DSLR in combination with visual notifications that focus has been achieved. This is typically the same focus confirmation light that's active when using autofocus. These notifications usually appear alongside the exposure information 
in your camera's viewfinder. As this feature makes use of your camera's phase-detect autofocus system, it stands to be affected by any autofocus microadjustment you may have previously performed when checking the image. Therefore, it's important to make sure that the AF microadjustment is correctly adjusted or disabled.

Using manual focus in conjunction with visual notifications can help you obtain maxim um sharpness

Keeping things steady

When you're focusing manually, any movement of either the camera or subject can affect your picture. Thus, it's a good idea to mount your camera on a firm support (and trigger the shutter remotely) to reduce the chances of camera shake, and do what you can to keep the subject steady.

Tripods with reversible central columns, such as the Manfrotto 055XPRO3, are ideal for macro photography (one genre in which manual focus is pretty common) as they enable you to switch to a horizontal position and make precise adjustments while shooting at ground level. Focusing rails (also known as micro-positioning plates) are good as they can attach to your tripod and enable precise positioning with just a touch of the fingertips.

When it comes to keeping your subject steady, less sensitive macro subjects (such as plants) can often be held steady using floristry wire or tied back with string. For a firmer grip consider investing in a Wimberley Plamp II – one end of this flexible arm clamps to the leg of your tripod while the other can be used to hold a windblown object, reflector or backdrop.

Benefits of tethered shooting for MF

The LCD monitor on the back of your camera is perfect for making major adjustments to composition, but as it only measures 3in or so it's not always the best way to make precise adjustments to focusing. As we've seen, most DSLRs now allow you to select a small area and magnify it on-screen, but when you're looking for super-fine adjustments use an external device, such as a laptop or tablet, and take advantage of the larger screen.

Controlling your camera via an external device has many benefits, aside from the improved screen size. If you're shooting an especially flighty subject (such as a butterfly, for example), it enables you to keep further back, minimising any disturbance. What's more, you can perform adjustments to many frequently used camera settings (including aperture, shutter speed, ISO, and so on) without physically touching the camera – this will inevitably reduce camera shake.

Guide to focus peaking

1. Enable focus peaking

First, find the focus-peaking option in your camera's menu system, bearing in mind that this may be under a general heading with other manual focus-assist options. If you have control over the colour, choose one that contrasts with your subject, and adjust the peaking level if you feel the need to. If you're not sure whether to adjust this, leave it on the default setting.

2. Compose your image

Now find an approximate focus so that you can compose your image. As with the previous method you can do this with autofocus initially, before switching to manual focus, or you can simply do it with manual focus to begin with. If you've chosen to use manual focus, you should already see the focus-peaking function appear – if not, move to the next step.

3. Focus using peaking

Now is the time to fine-tune your focus. Switch to manual focus if you haven't already and move the focusing ring slightly to see where the highlight appears. You want this to be at its maximum level over the key element in the scene. If your subject covers a range of distances, ensure that your depth of field is wide enough to render it entirely in focus.

4. Release the shutter

When you are happy with your focus, release the shutter. For maximum sharpness, consider using a remote release of some kind or your camera's self-timer option. This will reduce camera shake and keep the image sharp.

Source: Expert guide to manual focus photography

Zhiyun-Tech Crane M – a lower cost gimbal for small mirrorless and action cameras

Single handed operation brushless gimbals have increased in popularity in recent times and the market is crowded with options. One of those is the soon to ship Zhiyun-Tech Crane M which they were kind enough to send over for review. The Crane M is a smaller version of the company's popular Crane gimbal that I previously reviewed on the site.

Zhiyun-Tech has made the Crane M specifically for smaller cameras such as the Sony a6300/a6500, Canon EOS-M, Nikon 1-series and action cameras like the GoPro and Sony Sony FDR-X3000R. It also fits smartphones like the iPhone 7+. The minimum camera/lens weight that you can use on the Crane M is 125g (4.4oz) and the maximum is 650g (22.9oz).

The Crane M stabiliser comes in a nice soft case with two Li-ion batteries, a charger, USB cable, quick start guide and user manual. I really like it when company's take the time to include a proper printed manual and not refer you to an online PDF. Unlike many others, the instructions are very clear and concise, and even if you are a first time gimbal user you should be up and running fairly quickly.

The 26650 batteries that the Crane-M uses have a claimed 12 hours of operating time. I haven't been able to very this exact claim, but after a week of testing the gimbal I still haven't needed to charge the batteries up.

The build quality of the Crane M is very good. Every part of the gimbal feels solid and well made. It is certainly on the same level as the larger and more expensive Crane model.

The Crane M features a very familiar design and doesn't require the use of any tools. Balancing the gimbal is quite straight forward and can be done in just a couple of minutes once you know how. That said, you do really have to observe the min. and max. camera weights otherwise you will run into balancing problems. You also have to be very careful not to use a lens that is too heavy otherwise you can't physically move the camera back far enough to obtain proper balance.

I tried the Crane M with a GoPro, an old Sony NEX-5 (as this was the closest camera I have to the weight of a a6300), and a heavier Sony a7S. I used a very small 16mm f2.8 Sony pancake lens, other lenses I had were too heavy for the Crane M to handle. The Sony a7S with the 16mm pancake lens weighed in at 550g and the GoPro with a LCD backpack came in at 240g.

It became clear early on that the lens choices you have with the Crane M are going to be limited. A Sony a6300 weighs in at around 360g with a memory card and battery. That leaves you no choice but to use a lens that weighs under 290g. If you are using the Crane M outdoors then you will also have to factor in the weight of using an ND filter. I found the 650g maximum payload capacity quite limiting when using a small mirrorless camera.

The Crane M has three operating modes:

Pan Following ModeThe pan axis follows the movement of the stabiliser (left/right direction) while keeping the up/down movement of the camera locked. In this mode you can use the joystick control to move the camera up or down.

Locking ModeThis locks the pan, tilt and roll, leaving the camera facing in the forward direction. In this mode you can push the joystick left or right to adjust the pan angle. If you want to adjust the tilt axis you can push the joystick up or down.

Pan and Tilt Following ModeIn this mode the roll axis is locked and the tilting pan axix follow the movement of the gimbal. You can use push the joystick control left or right to adjust the roll angle.

Along with the joystick control you can also use a optional bluetooth remote, or the free iOS app to control the Crane M. I like the iOS app as you can quickly check the monitor interface to see how well your gimbal is balanced. You can also use it to switch between modes and operate the joystick control remotely. There are also options to adjust the pan, roll and pitch axis.

As far as the performance of the Crane M goes, from my tests I found it did a reasonable job of providing decent stabilisation when used in a variety of ways. It definitely performed a lot better when using it for slow moves and on objects such as bikes and cars than when I was walking with it. Suprisingly the performance was not that much different when I was running as to when I was walking.

The Crane M seemed to work the best when I was just holding it while riding on my bike. Despite the bumps in the road it provided good results.

On the iOS app you can also press a button labeled REAR which is a fast way of spinning the gimbal around 180 degrees so you can film yourself, similar to the way the DJI OSMO does. I found this worked well and I was even able to run while filming myself. For video journalists this feature alone makes the Crane M worth looking at.

You can operate the Crane M in the normal handheld mode or invert it for super low shots. I encountered a problem when using the a7S where I couldn't get the gimbal into inverted mode. The reason for this is that the camera is too wide and it hits the Crane M's frame if you try and flip it. This isn't a problem when using cameras that aren't as wide. To be fair Zhiyun-Tech doesn't have the Sony a7 series listed as a compatible with the Crane M.

The Crane M can be attached to a boom pole or light stand via its 1/4 20″ connector on the bottom of the handle. This gives it a lot of added versatility, allowing it to be used in a variety of shooting situations. With the ability to also remotely control 360° unlimited rotation, you could mount the camera in some interesting positions and adjust your shot when need be.

Zhiyun-Tech also offers optional camera control cables for the Panasonic GH4, all Sony mirrorless cameras, as well as the RX series and QX series. With the cable attached to Sony cameras you can control the shutter (including focus), single click the ON/OFF button on the Crane M to start video recording, and double click to stop the recording. To zoom using compatible lenses you push the shifter lever upwards to zoom and backwards to zoom back out. Zhiyun-Tech recommends the E PZ 16-50mm F3.5-5.6 OSS and E PZ 18-105mm F4G OSS when using the Sony Control Cable, although the later is possibly overweight for the Crane M with all but the smallest Sonys.

On the Panasonic GH4 you can control the shutter (focus included), as well as take photos by single clicking on the ON/OFF button. To start/stop video you double click on the ON/OFF button, and double click again to stop the recording. You can also adjust the focus of compatible lenses by pushing the shifter lever up or down. Unfortuantely Zhiyun-Tech sent out the Panasonic control cable and not the Sony one, so I was unable to test out how the control cables actually perform.

I don't think the M performs as well as the larger Crane gimbal and it produced slightly more noticeable micro vibrations, especially when I was walking. I did find that adding a bit of post stabilisation did remove quite a few of the little vibrations I was seeing. Using the Crane M in combination with a camera with in-built 5-axis stablisation such as the a6500 might achieve better results.

The Crane M is well built, easy to set up and the iOS app is great for accessing settings and controlling the gimbal remotely. The real limiting factor to me is the weight capacity. While it may be able to take a large range of cameras, finding the right lens to use is going to be the biggest challenge for potential owners. If I was the owner of a Sony a7/a6300/a6500 or similar sized camera I would probably be tempted to look at a larger gimbal as it would give you far more flexibility when it comes to lens choice. Having not personally tested any other similar hand hand gimbals in this weight class It is hard to tell how well it compares to its competition, the most obvious at the price being the new Nebula 4100 Lite. The Crane M will retail for $499US.

Crane-M supports:All Sports Cameras & All Smartphones & Sony black magic series DC & Panasonic Lumix DMC & only few Mirrorless cameras

Specific cameras examples：Smartphone series：iPhone7, iphone7 Plus and all other iPhone series Samsung，Vivo Huawel，Oppo, and all other smartphone series.Action cameras：GoProhero5, GoProhero4, GoProhero3, GoPro Hero session, Xiaomi yi，SONY action cameras, X3000R，HDE-AS50R, etc.Sony DSC cameras:RX100, HX60, HX90, w830, wx350, RX1R, RX100, etcCanon power shot series:SX720,G7 X Masrk 2，G7 X Masrk 1，Sx620，G3X，G5X，SX720, etNikon COOL PIX series:AW130S, S7000,A100, etcLumix DMC series:ZS110GK，LX100,TS30,ZS110,LX100,ZS110GKS, etcSONY ILCE series:6000L，5000L, 6300L, 7RM2，7k，6300L, 5100L, 6000L, 5000LPanasonic Lumix DMC:GF8, GF7, GX85, G7, GX8D, etcCanon EOS:M3, M10, ILCE-6000L,ILCE-6300L,6000L

Source: Zhiyun-Tech Crane M – a lower cost gimbal for small mirrorless and action cameras

Sigma Mount Converter MC-11

When the Sony Alpha 7R II was released, it came with a very promising feature: the ability to autofocus with SLR lenses, including those made by other camera makers, with the same speed and accuracy as native glass. But the adapter you use matters—I first tested adapted lenses with a Fotodiox Pro Lens Mount Adaper ($109.95), which delivered inconsistent results. The Sigma Mount Converter MC-11 ($249) is more expensive, but I found that it locks focus quickly and consistently with a variety of Sigma and Canon EF lenses, making it a worthwhile investment for Sony mirrorless owners with a library of Canon SLR lenses.

DesignAs a lens adapter, the MC-11's design is pretty basic. It's a short, black, metal cylinder that mounts to your Sony mirrorless camera, just like a lens. It features a mount of its own at the front, which accepts EF (Canon) or SA (Sigma) mount lenses, depending on the version that you purchase.

Mirrorless cameras omit the mirror box you get with SLRs, so the distance between the lens mount and image sensor is shorter. The MC-11 is sized so that the distance between its front mount and the image sensor perfectly matches an SLR. This ensures that SLRs lenses will focus properly across their entire range, from close focus to infinity.

In addition to the aforementioned Fotodiox adapter, Metabones offers an autofocus adapter for Canon lenses. It's a pricier option, selling for around $400. Sigma doesn't offer an adapter in the Nikon mount. As of now, Fotodiox has the only autofocus adapter available to match Nikon glass to Sony cameras. Its Fusion Smart AF Adapter is priced at $349.95, and we hope to review it in the near future.

Compatibility and PerformanceThe MC-11 works best with Sony cameras with on-sensor phase detection. These include the full-frame Alpha 7R II and Alpha 7 II, as well as recent APS-C models, like the Alpha 6000, Alpha 6300, and the forthcoming Alpha 6500. I tested the adapter with the Alpha 7R II. It can also be used with models that support contrast detection only, albeit with slower results.

Sigma states that the adapter is tuned to work best with select lenses in its Global Vision line. I wasn't able to test it with every single supported lens, but I did shoot with the 35mm F1.4 DG HSM Art and 50mm F1.4 DG HSM Art, both in EF mount. The lenses worked quite well, locking focus quickly and tracking subjects as they moved through the frame.

I also tested the adapter with some Canon lenses. Sigma doesn't technically support Canon lenses with it, but I was happy to see that they focused just as quickly and accurately. The Canon lenses I tested included the EF 11-24mm f/4L USM, EF 35mm f/1.4L II USM, and EF 400mm f/4 DO IS II USM.

The adapter transmits EXIF data to the camera, which is a big plus. You can see the focal length, shutter speed, and working aperture for any shot, just as you can with a native lens.

ConclusionsOn-sensor phase detection for mirrorless cameras is a big deal. Early efforts brought mirrorless focus performance in line with SLRs, and more recent systems, like the one developed by Sony for its mirrorless system, has the potential to surpass what SLRs can do. The Alpha 6300 and 6500 can track subjects and focus at 11.1fps, after all. But there are some gaps in the Sony mirrorless lens lineup, gaps that can be filled easily with lenses from Canon and Sigma. The Sigma Mount Converter MC-11 makes that possible, allowing you to use Canon and Sigma EF (or less common Sigma SA) lenses with the same speed and accuracy that native lenses deliver. That's just about all you can ask for from a lens adapter.

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Source: Sigma Mount Converter MC-11

First Impressions: Canon M5

The Canon M5 is the company's first truly serious attempt at a mirrorless cameras, and they've had a number of years to think about just how they were going to approach the market. Targeted at the advanced amateur the Canon M5 is an amazingly small camera with a quite a bit of power inside. With a 24MP Canon developed APS-C sensor at the heart, this camera honestly should have been announced two years ago.

But as a camera itself: it really isn't quite that bad.

Tech Specs

Specs taken from the Canon press release

24.2 Megapixel CMOS (APS-C) sensor, ISO 100–25600.

Fast and smooth Dual Pixel CMOS AF helps you capture stills and shoot video with quick and precise autofocus.

High-speed continuous shooting at up to 7.0 fps (up to 9.0 fps with AF Lock) and new DIGIC 7 Image Processor with improved AF tracking performance.

Full HD 60p helps capture fast-moving subjects and brilliant results in MP4 format.

Digital IS with 5-axis image stabilizationiv when shooting movies plus increased image stabilization with both lens optical IS and in-camera digital IS when shooting with an IS lens.

Built-in high-resolution EVF (approx. 2,360,000 dots) with new Touch and Drag AF lets you manually move the AF frame displayed for more precise focusing in different shooting situations.

Intuitive touch screen 3.2 tilt-type (85° up/180° down) LCD monitor (approx. 1,620,000 dots) enables flexible positioning and clear viewing.

Easily customize functions while shooting using the Main Dial, Quick Control Dial, Dial Function Button and Exposure Compensation Dial.

Built-in Wi-Fi®v and NFCvi allows for easy sharing and transferring of images and videos.

Equipped with Bluetooth®iii Smart for smooth pairing with a compatible smartphone by powering on both devices for easy photo sharing and remote control possibilities.

Shorter camera startup timevii and interval time between each image capture for a more efficient shooting experience.

Compatible with EF-M lenses as well as the full line of EFviii and EF-Sviii lenses and Speedlites for expanded creativity.

Ergonomics

When you look at the Canon EOS M5, what you mainly end up seeing is a mirrorless camera meant to mimic the look of a smaller DSLR. Unlike Fujifilm and Olympus, Canon strays away from the retro looking aesthetic even though I'd honestly kill for something like their older SLR style cameras.

When you look at the front of the camera, what you mostly see is that giant mount. The only controls of any sort are the lens release and depth of field preview button.

The top of the camera is where you'll mostly spend your time working with the controls. You've got the mode dial on the left, two exposure dials, pop-up flash button, exposure comepensation button, and more. Plus there's the hot shoe.

Unlike most other Canon mirrorless cameras, there is an EVF present. It's nice looking and overall my experience with it is quite positive. When the diopter is adjusted enough, I can mostly see through it using my right eye and with my glasses off. Otherwise, I'm pretty incredibly blind.

On one side you've got the extremely subtle Wifi button and the HDMI out port. The Wifi button is very tough to accidentally press when putting your hand around the grip.

The other side of the camera has more ports. They're standard for just about any camera out there.

The Canon EOS M5 has a tilting LCD screen that is touch capable. But this screen is in many ways much more usable than others out there.

For example, it can do this. With the screen in this position, it's easier to take product photos, food photos, macros, etc.

The back of the camera is otherwise dominated by very Canon-centric buttons and controls. Oddly enough, the dial around the four way control can't be programmed at all to control another parameter. If you're a Canon DSLR user, it would make a lot of sense to make this control the aperture.

Build Quality

Canon's EOS M5 isn't weather sealed. It's fairly compact and feels nice in the hands overall. The touch interface is very smooth and makes navigating the menus even simpler. Canon did a fantastic job here; and I'm inclined to say that it's the best available.

Autofocus

During our short test in the Javits Center, the camera seemed to focus overall pretty quickly. But the lens was having some weird issues that I'm sure wouldn't have happened otherwise (or at least I hope so). The autofocus performance is about as fast as what you can get from Fujifilm, though I'd even rate Fujifilm to be just a bit faster.

Image Quality

We weren't allowed to put a card into the camera since we were dealing with a pre-production model. But we're calling in a review unit.

First Impressions

Canon's EOS M5 so far feels like a "me too" type of camera. It isn't at all bad; but this camera should've been here two years ago. It doesn't feel anywhere like the level of innovation that the Canon 5D Mk II was to the industry; but with all this said it once again doesn't feel like a bad system. At the moment though, it's very APS-C centric and I can't figure out what differentiates it from the rest. Sony has full frame, Fujifilm has the best APS-C sensor on the market, Olympus and Panasonic have the fastest autofocus and most support. But Canon? You've got access to loads of third party flash options and you can use the company's EF mount L glass on the camera with an adapter. But as it is, the EF-M mount doesn't have any high end glass.

We'll have to save our final evaluation for when we get a review unit in.

Source: First Impressions: Canon M5

The Mirrorless Camera Market in 2016

A lot has happened since I posted my Mirrorless Camera Trends report in 2015. With the 2016 Photokina and PhotoPlus Expos completed, we have a good idea about the current state of the camera industry. No surprises. Mirrorless camera introductions continue to dominate the market, and the trends that I talked about last year, continue to accelerate.

It became clear, a couple of year ago, that mirrorless cameras needed to go upmarket — to cater to professionals and enthusiasts. Inexpensive, entry-level mirrorless did not sell. Rather, it was the DSLR owners that were downsizing to smaller systems. This year, there were two big announcements that moved mirrorless beyond full frame sensors.

Hasselblad was up first with their 50MP mirrorless X1D medium format camera. Then, at Photokina, Fujifilm jumped into the fray with their own 50MP GFX mirrorless system. Both companies are featuring entirely new mounts for their respective line of new lenses. Quite a serious investment. These are not sports cameras, so they won't challenge Canon and Nikon for action, but for portraits and landscapes, it may be an entirely new ballgame.

Sony probably has established themselves as the king of mirrorless, with their full frame A7 line, as well as their Alpha APS-C cameras. While Sony's APS-C cameras are very good, it's the full frame A7 cameras that have stolen the show. With the three Mark II cameras joining the original line of three, Sony has six full frame mirrorless cameras, at various price points. Though their lens lineup still is far behind Canon's and Nikon's DLSR offerings, they, along with Zeiss are making steady progress.

Fujifilm is truly hitting their stride with mirrorless. While the original Fuji cameras have a passionate following, with great image quality, they were lacking in speed. They've had a couple of generations to address their weak points. Now, with the X-Pro2 and the X-T2, and their stellar lineup of lenses, they have a truly compelling system. Add in the medium format GFX on the high-end, as well as the X point and shoots and you have a very deep lineup of high quality, high-end cameras.

Olympus continues to do what they have always done well — create high quality smaller cameras. They've been building out their Pro line of weather sealed, large aperture lenses. Their advantage? The best selection of lenses in the mirrorless market, killer 5-axis image stabilization and beautifully crafted, stylish cameras. The recently previewed OM-D E-M1 Mark II, which sports DSLR like speeds, even exceeds in frame rates. Also, early in 2016, they released their beautifully retro PEN-F, which is my personal favorite. I got to use it for a while and I have written an extensive Olympus PEN-F review.

Panasonic has also continued to move upscale, along with the rest of the mirrorless players. Their video centric GH5 will be arriving soon, which features a 6K photo mode. While not as retro and stylish as Olympus, Panasonic makes very capable cameras that excel in hybrid still and video photography. Their no-nonsense bodies with beefier grips are also more ergonomic than Olympus, especially with larger lenses. Panasonic also continues to extend their lens lineup and since Panasonic and Olympus share the same micro 4/3 lens mount, they both benefit.

Pentax, which is now owned by Ricoh, dropped their mirrorless Q line. It's a real shame because I really enjoy my Q7. And while these cameras did well in Japan, they didn't sell very well in the U.S. But this is not surprising, since the Q doesn't fit with the upmarket mirrorless trend that I've mentioned.

Canon finally introduced a capable mirrorless camera, the EOS M5. It basically takes all of the features of the EOS 80D DSLR and puts it into a mirrorless form factor. Too bad Canon didn't release a more cable camera, years ago. While Canon dithered around, everyone else added to their strengths. While the M5 is capable, its features are not exceptional and with a small lens lineup, Canon has an uphill battle. Perhaps their biggest strength is their smooth autofocusing in videos. The touch screen also works well to pull focus between subjects.

Finally, there's Nikon, which is the biggest puzzle in the mirrorless industry. They've had a capable lineup of small 1" sensor mirrorless cameras, for a while, but they never took off. Nikon never built out its lens selection and its feature set did not appeal to the high-end user, except for niche markets like bird photography. There are rumors of the Nikon 1's demise. The mirrorless future is the most uncertain for Nikon.

With DSLR sales in steady decline, the coming mirrorless takeover continues. DSLRs will always be around. They are capable, especially for action and sports, but their advantage continues to erode. It appears that the established mirrorless players have scoped out their niche and building upon their strengths.

The wild card is Canon and Nikon. While Canon is probably in better shape, both of them are in weak positions. So what's their strengths? Their extensive collection of DSLR lenses and their DSLR technology. Unfortunately, these strengths don't help them in the mirrorless market. A classic example of disruption.

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Source: The Mirrorless Camera Market in 2016

Canon Full Frame Mirrorless Camera

Canon is allegedly working on a full frame mirrorless camera. And the rumors said some sort of early prototype already existed although it never came out of Canon's labs. Maybe it is still undergoing lab tests and development. And this Canon full frame mirrorless camera is expected to feature 4K video recording. According to the [...]

Source: Canon Full Frame Mirrorless Camera

New Fuji X-A10 mirrorless camera registered in Asia

A new Fuji X-A10 mirrorless camera was recently registered at the South Korean Radio Research Agency (RRA). The new X-A10 model will most likely be a replacement for the pictured above Fuji X-A1 (already discontinued). Fuji also recently announced the X-A3 model and this registration is a confirmation that the X-A line of cheaper cameras with Bayer sensors will continue to exist.

Expect the official announcement X-A10 to be in the next few weeks. Here are the details from the registration:

Company name: Fujifilm Electronic Imaging Korea

Equipment Name: specified low-power radio equipment

Model name: X-A10

Certificate Number: MSIP-CMI-FEI-FF-FF160003

Manufacturers: Xacti Corporation

Country of manufacture: Indonesia

Certification date: 2016-09-26

Via Digicame-info

Source: New Fuji X-A10 mirrorless camera registered in Asia

Five Fast Focusing 50mm Lenses For Mirrorless Cameras

One of the most popular lens focal lengths out there is the 50mm–but they're sometimes worthless if they can't focus quickly. Whether you're a professional or hobbyist photographer, there isn't a reason why you wouldn't want to have a fast focusing 50. Foodies can rest assured knowing that their 50mm lens will lock focus quickly onto dinner. When you're capturing your corgi running around and doing corgi things, you'll know that the image you snap will be bound to get you some karma points on Reddit.

We've done lots of testing with various 50mm lenses (and those that offer the equivalent field of view), and these are some of our favorites.

Fujifilm 35mm f2 R WR

In our review, we state:

"On the X Pro 1, this lens actually focuses incredibly fast for a Fujifilm lens/camera combo, but where it really shines is on the XT-1. Indeed, this lens really is the fastest to focus optic that Fujifilm currently makes–and that goes or both low light and great light.

In the image above, as the biker closer to the camera was moving across the frame, the 35mm f2 was able to latch onto her while shooting wide open, capture the moment and deliver a sharp and in focus image. This is exactly what Fujifilm has had problems with for years, but they've finally got it fixed. Most other Fujifilm lenses would have had trouble focusing even with the fact that the subject is so far away.

So what does this translate to? Considering how fast this setup is, I'd say that the Fujifilm 35mm f2 R WR and the X-T1 or the X-T10 would be well suited for candid street photography."

Buy now $399: Amazon

Sony 50mm f1.8 FE

In our review, we state:

"Initially, I got a couple of minutes to play with the lens on the Sony a7r II, and in the great lighting that we were in, I was really stoked to say that it focuses quickly overall as you can see in the video.

But in low light situations, that performance really changed.

In very low lighting, the Sony 50mm f1.8 is extremely slow to focus. To help a friend out, I recently shot a gig at Speakeasy Dollhouse. At certain points, the focusing was so slow with both the Sony a7 and a7r II that I yearned for my Canon 6D's strong center focusing point and recomposing on the fly. At least I'd get the shot–but I indeed missed a bunch to be bad enough that when you look at the image as a whole, that you'd be angry about it.

If focusing is off by a centimeter and we're not pixel peeping, no client is going to care very much."

Buy now $249: Amazon

Olympus 25mm f1.8

In our review, we state:

"Trust us when we say this: wow.

No really, of any Olympus lens that we tested, this one's hit rate was amongst the highest. To be clear, we usually test our lenses by manually selecting a focusing point after framing a scene, then focusing and releasing the shutter.

A vast majority of the time, it nailed the focusing with no problems. Additionally, we usually shot at f1.8. The fact that we're shooting at f1.8 on a Micro Four Thirds camera translates into approximately f3.5 on a full frame camera. The reason for this is because of the size of the sensor. In effect, this means that at any given aperture, much more will be in focus with a Micro Four Thirds camera than with a full frame DSLR or mirrorless option.

While in line with this thinking, one can then make a logical conclusion that it's tougher to get something out of focus with a Micro Four Thirds camera than it is with a full frame or APS-C offering–and they'd be completely correct."

Buy now $399: Amazon

OLYMPUS DIGITAL CAMERA

Sony 35mm f1.8 OSS

In our review, we state:

"This lens is fast to focus on the NEX 5R in ideal conditions, which tells us that it will work seamlessly with higher grade cameras. Focusing in low light was only a tad less snappy than in daylight. If you're looking to use this lens for street photography, it can surely keep up with the best of the best–but I personally recommend switching the lens into manual mode and using the Zone Focusing method to get the best results. Sony has a distance scale and focus peaking that will work well to your advantage when practicing that method.

If you don't want to though, then ensure that your units touchscreen is up to par–ours wasn't!"

Buy now $385: Amazon

Zeiss Touit 32mm f1.8

In our review, we state:

"Coupled with the NEX-6, this lens was fast. Focus locked quickly and accurately. I'd wager about 8 out of 10 of my shots were in focus on a consistent basis. That's a hit rate I can definitely live with. The lens did seem to have a little trouble focusing in backlit situations, where it would hunt for a few seconds before locking on. A minor gripe, but nothing that will make you pull your hair out.

I took a few shots of my friend Nikki on the beach and the Zeiss had no problem keeping up. I carried it with me to lunch and there was little issue of it being able to handle focus both indoors and outdoors. Even in a dimly lit restaurant, it locked focus quickly and smoothly. Another thing to add, this lens operated very quietly; important if you want a bit of stealth while you work."

Buy now $499: Amazon

Source: Five Fast Focusing 50mm Lenses For Mirrorless Cameras