24 hours with Sony's A9 full-frame mirrorless camera

Based on my first experience with it, at a track-and-field event Sony chose for the demo setting, the A9 is as fast as it sounds on paper. The camera's autofocus had no trouble keeping up with dancers, runners and pole vaulters. Being able to shoot up to 241 full-frame RAW images is definitely a nice option to have, even if you don't often need it. I had the A9 paired with Sony's new $2,500 G Master 100-400mm telephoto lens for most of my shots, which, as you can imagine, adds quite a bit of weight to the camera. Without any glass attached, the A9 is designed to be as compact as Sony's other full-frame mirrorless shooters, like the A7 II, A7S II and A7R II.

The A9 looks so similar to the Alpha cameras mentioned above, in fact, that people at the launch event kept grabbing my A7 II by mistake. Like its siblings, the A9 also shoots 4K video at 3,840 x 2,160, as well as 1080p at up to 120fps, for those of you looking to record slow-motion videos. The max ISO range of 204,800 also sounds promising, although I haven't been able to put that feature to the test just yet. It'll be interesting to see how the A9 performs in night shoots, especially compared with flagship DSLRs from Canon and Nikon. After all, Sony did say during its A9 presentation, "The age of the DSLR being the kingpin is over." We'll see about that.

It's hard to judge the A9 completely after spending only a day with it, but you can get an idea of what to expect in the sample images below. While I'm not a sports photographer, the camera definitely made it easy for me to get some solid shots of fast-moving subjects. Personally, I'd much rather use it for portraits and street photography, but then again, that's how I feel about every camera I play with. If you're into it, the A9 will arrive in stores May 25th for $4,500 (body only).

To view our sample images in full resolution, click here. As a bonus, professional photographer Ben Lowy was kind enough to let us show you some of the shots he took with his A9 -- you can check them out right here.

Source: 24 hours with Sony's A9 full-frame mirrorless camera

When Does Using Adapted Glass on Your Mirrorless Camera Stop Making Sense?

Many photographers, myself included, often tout the ability of mirrorless cameras to utilize old film era lenses to save money and try new focal lengths without breaking the bank. But at what point does doing this actually, make sense, and when does it start to be a bad decision?

Well, the whole benefit is utilizing lenses that you may already own, thereby saving you money. Where some people go wrong is by going out and finding film era glass to buy specifically for their mirrorless camera. Ok, let me back up, because buying an old lens on its own isn't a bad idea, but there is a point where the cost of that old manual glass starts to come really close to native glass you can get for your camera and at that point, it makes much more sense to just save a little longer and get the native glass for your camera.

I recently ran into this issue when I was looking into buying an old film era lens, when I discovered that in order to get a lens with the focal length I was wanting with the aperture I was after, I was actually going to be paying about as much as I would for a native lens but without AF, weather sealing, and modern coatings. Simply put it made absolutely no sense.

You usually run into this issue the most with fast glass, F2 and better. These lenses generally retain their value well and in the case of buying old film lenses, you may be able to find an F1.4 or F1.2 lens for the price of a native F1.8 or F2 lens. Obviously, the film lens will net you more light, but at the cost of no AF, weather sealing (in some cases) and modern coatings. For some people going with the film era lens can still make sense, but for most, it just makes sense to go with the slower (but still fast enough for most uses) native lenses than the older lenses.

Where buying film lenses makes the most sense is when you get into lenses with an F2.8 or slower aperture, these lenses are often still fairly cheap and can save you a lot of money over native modern lenses. You just need to be ok with using slower glass and stopping down in order to achieve the best results. This is great for people just looking to play with a new focal length, figure out if they like it or not and how to work with it.

For example, you can pick up a film era 28mm F2.8 lens on the cheap, and while that may be slow for a prime these days, it would give you the ability to play with the focal length and see if it is really one that you want to add to your kit.

So, if after all of this you still feel like buying some film era manual glass is the right decision for you, we highly recommend checking out your local exchanges, places like craigslist. This is so you can go and see the lens in person before committing to it. If you can't find the lens you are looking for locally, then Ebay is where we suggest checking next. Just make sure to purchase from a reputable seller with good feedback. For lens adapters we suggest buying from Amazon , you can find a great selection of affordable adapters and you can get them faster than buying from somewhere like ebay.

Source: When Does Using Adapted Glass on Your Mirrorless Camera Stop Making Sense?

Mirrorless Camera Maniac: Amazing Speedlight Solution for All Cameras

Once I realized that mirrorless cameras were more than capable of replacing my DSLR, I dove in head first and sold my Nikons. Ever since then, I've been saying that the only thing I miss from my Nikons is the excellent Creative Lighting System. Nikon's CLS allowed me to make pictures with excellent light in all kinds of situations without using additional radio triggers or sync cords. From broad daylight to pitch black night, from manual mode to TTL, Nikon's speedlights never failed me. when I switched to Lumix, I continued using my Nikon flashes, but I used some inexpensive dumb triggers that simply made the flash fire and I had to manually adjust power outputs at each light. I have missed the ease and versatility of the CLS. But now I've discovered a set of tools that more than replaces Nikon's tools. It works marvelously with mirrorless cameras, but it also works with DSLRs.

Nissin Air Triggers

Nissin has been making quality speedlights for a long time. Their latest tools offer the most powerful flashes and they are all radio controlled so line-of-sight isn't necessary (like it is with the Nikon CLS), and they even work with your camera's High-Speed Sync to allow you to photograph at speeds over the x-sync speed (usually 1/250s, and performance may vary with Fuji). There are two remotes, the Air 1 and the soon-to-be-available Air 10. They both control multiple groups and they both work with your camera's TTL metering or in manual mode. They are everything you want in a flash trigger. You simply buy the one made for your camera brand (Olympus, Lumix and other MFT's share the same triggers).

i60A and Di700A Speedlights

Nissin also makes two flashes compatible with the Air triggers. The Di700A (who comes up with these names?) is a powerful speedlight about the same size as the Canon 580 series. Its radio control works flawlessly in my tests in many instances. You can see the full specs here on B&H. The cost is very nice, too. It's not as cheap as dumb flashes found on discount websites, but it performs so much better than those, and it's really well made.

The powerhouse of the lineup is the i60A speedlight. It is more powerful than Canon and Nikon flashes, less costly, and the design is remarkable. It's much smaller than other powerful speedlights (smaller even than the Lumix FL580L). The design breaks away from the usual speedlight form with a button on the side to make it swivel left and right and up and down, which always ends up feeling creaky and flimsy. The i60A has a tight structure that articulates solidly and moves into position with positive detents and it feels like it will remain this firm for the life of the product.

These are some pictures I made recently using the i60A and Di700A with the marvelous MagMod speedlight modifiers.

Here's the Amazing thing

Besides the speedlights, there are also the Air R receivers for specific flash brands. That is, I can buy the Air R for Nikon and use it with my Nikon flashes. So far, it would work with the Air 1 I have for Lumix, but only as a dumb trigger. What's really exciting is that the new Air 10 will allow me to use the Air R for Nikon and have full control of the Nikon flash as if I were using the Nikon CLS!!! Yes, I used three exclamation points because it's incredible. If you have Canon or Nikon or whatever flashes, you just need the Air R receiver for that brand flash and you can use them with full TTL controls from whichever mirrorless camera you own. Heck, they even make the trigger system for Canon and Nikon, so we're talking about full intermixing of all kinds of flash brands. This is unprecedented and it makes the world of speedlighting and off-camera flash a whole lot bigger.

**The Air R receivers also have PC sync ports, so they can trigger your studio strobes, but I don't know of any compatibility for communicating with the strobes and using TTL; I hope they make a compatible trigger for my Alien Bees.

Conclusion

When you switch to mirrorless, it's best to sell your DSLR lenses and get the fine glass made for your system, as I discussed in this other article. But not so with the flashes. Keep the flashes you have, get the Air 1 or Air 10 triggers with Air R receiver for your flash and get out and make pictures. If you don't have any speedlights, then the i60A is the best speedlight I've ever used. The Di700A is also very good, just larger. What's more, these flashes and triggers cost hundreds of dollars less than the Canon triggers and flashes. I think everyone should get in on these tools.

Highly recommended.

Source: Mirrorless Camera Maniac: Amazing Speedlight Solution for All Cameras

26 Apr Fujifilm X-T20 Mirrorless Camera Review

26 Apr Fujifilm X-T20 Mirrorless Camera Review

Source: Fujifilm Insider

I'm an owner, so obviously I'm a little biased  but in my opinion, Fuji's X-T2 is one of the nicest mirrorless cameras currently out on the market.  It's such a capable camera but at the same time, it's also compact enough where there's almost no reason not to take it everywhere with you.  However, at $1,599, it's not going to be for everyone, especially for those who may not be diehard photographers.  So, what does that leave us with?  Well, how about the new Fuji X-T20.  The X-T20 not only has many of the key features that make the X-T2 such a great camera like the same sensor, for instance, it even has a similar overall appearance.  The X-T20 is also more compact, and at $899, it's priced significantly cheaper.

Fujifilm X-T20 Build Quality:

Appearance wise, the X-T20 shares quite a lot of similarities with it's bigger sibling, the X-T2.  It has the same DSLR styled looks, and the cool retro styled analog controls (although there are some differences here, which I'll discuss in a bit).  It's a great looking camera overall…

Related

Fujifilm X-T20 Mirrorless Camera Review posted on Fujifilm Insider on April 26, 2017 10:10 am.

Read the full article on Fujifilm InsiderHome
Source: 26 Apr Fujifilm X-T20 Mirrorless Camera Review

What’s coming next? A new Olympus E-M10III and a new Sony camera!

Let's try to distract the people from the ongoing Sony A9 news coverage :)

We know of two cameras coming soon:

1) Olympus will announce the new E-M10III within the next couple of months

2) Sony will announce a new camera in June. We don't know what it is but the best guess is that this is a new RX camera. But it definitely is NOT a new A9r camera as reported as usual by some bogus rumor sites that never have been right once :)

3) Panasonic and Fuji will announce their next new mirrorless system camera after this summer!

Sony A9 at BHphoto, Adorama, Amazon, BestBuy. FocusCamera. Calumet.de. Park UK. Wex UK. Jessops.

Source: What's coming next? A new Olympus E-M10III and a new Sony camera!

Firmware update 1.01 for Nikon 1 J5 mirrorless camera released

Nikon released a new firmware update version 1.01 for the Nikon 1 J5 mirrorless camera with one single fix:

Fixed an issue that prevented additional deletions after multiple shots had been deleted in succession from a single burst of pictures.

The Nikon 1 J5 was announced in April, 2015 and is currently priced from $497 while refurbished versions are selling for $380.

Source: Firmware update 1.01 for Nikon 1 J5 mirrorless camera released

Sony to launch high-speed, silent, mirrorless camera

Sony Corp. will launch a mirrorless single-lens digital camera capable of photographing silently at high speed, targeting professionals and bird watchers who want to shoot without distracting their subjects.

The new model, Alpha 9, can continuously shoot up to 20 frames per second with the help of a CMOS image sensor to process data up to 20 times faster than previous Sony full-frame mirrorless cameras.

The electronics giant will start taking orders Thursday ahead of the product's May 26 release.

The CMOS sensor allows the camera to stay focused on athletes without a pause, helping capture them in motion during competition.

The silent shooting function helps photographers operate in noise-sensitive environments, such as around wild animals or birds, or when a golfer is playing a shot.

The camera body, together with its battery, weighs about 673 grams.

An expected retail price for the body is around ¥540,000, according to the company.

Source: Sony to launch high-speed, silent, mirrorless camera

sony a9 mirrorless camera VS nikon d5 dslr

 today sony released a haymaker with the a9 mirrorless camera.

as usual with sony (on paper) they absolutely dominate.

"on paper" is the key here.

i've made the mistake of nearly jumping ship to sony before. having owned the sony a7, a7s, a7r, a7sII i'm very familiar with the temptation their white papers present. i'm definitely going to give the a9 a whirl, but i'm not holding my breath.

at the very least it's nice to see a camera maker at the pro level bringing nothing but innovation time after time.

Sony a9 Mirrorless Camera

Price: $4,499 (Body Only)Lens Mount: Sony ECamera Format: Full-Frame (1.0x Crop Factor)Pixels Effective: 24.2 MegapixelMax Resolution 6000 x 4000Autofocus Points: 693 Phase Detection (93% coverage)ISO Sensitivity: Auto, 100-51,200 (Extended: 50-2,048,000)Speed: 30 – 1/32,000 Second, Bulb ModeMetering Range: EV -3.0 – EV 20 (ISO 100)Dimensions (WxHxD): 5.0 x 3.8 x 2.5″Weight: 1.48 lb / 673 g with battery and memory cardContinuous Shooting: up to 20 fps at 24.2 MP for up to 241 frames in raw formatBattery: 1 x NP-FZ100 Rechargeable Lithium-Ion Battery Pack, 7.2 V, 2280 mAh batterySensor Size and Type: 36 x 24 mm CMOSMemory Card Type: Dual SD Card SlotsWi-Fi Capable: Yes (Built-in)3.0″ 1.44m-Dot Tilting Touchscreen LCD Monitor4K UHD Video Recording at 24/30 fps1000 Base-T Gigabit Wired LAN SupportIBIS Image Stabilization: YES Nikon D5 DSLR Camera

Price: $6,496.95 (Body Only)Lens Mount: Nikon FCamera Format: Full-Frame (1.0x Crop Factor)Pixels Effective: 20.8 MegapixelMax Resolution 5568 x 3712Autofocus Points: 153 Phase Detection (99 Cross-Type)ISO Sensitivity: Auto, 100-102400 (Extended: 50-3280000)Speed: 30 – 1/8000 SecondMetering Range: EV -4.0 – EV 20.0Dimensions (WxHxD): 6.3 x 6.2 x 3.6″Weight: 3.11 lb / 1415 g with battery and memory cardsContinuous Shooting: Up to 12 fps at 20.8 MP for up to 200 frames in raw formatBattery: 1 x EN-EL18a Rechargeable Lithium-Ion Battery Pack, 10.8 VDC, 2500 mAhSensor Size and Type: 35.9 x 23.9 mm CMOSMemory Card Type: CompactFlash or XQDWi-Fi Capable: Yes (with Optional Transmitter)3.2″ 2.36m-Dot Touchscreen LCD Monitor4K UHD Video Recording at 30 fps1000 Base-T Gigabit Wired LAN SupportIBIS Image Stabilization: NO
Source: sony a9 mirrorless camera VS nikon d5 dslr

Panasonic Lumix GH5 Digital Camera Review

Our editors review and recommend products to help you buy the stuff you need. If you make a purchase by clicking one of our links, we may earn a small share of the revenue. Our picks and opinions are independent from any business incentives.

No single company has pushed 4K video like Panasonic. Its GH series has represented the best blend of sharp photos and pro-grade video in a single package. It's no wonder that video production houses the world over adopted the GH3 and GH4 in droves, and the new Panasonic Lumix GH5 (MSRP $1,999 body-only) is poised to become the new favorite camera of enthusiasts and pros alike.

While its $2,000 price tag stings a bit, Panasonic's loaded the GH5 to the brim with state-of-the-art video capabilities—with firmware updates unlocking higher performance later this year. Its bigger, sturdier body adds sensor-shift image stabilization, and an updated control layout feels like a dream. There's even a new 6K Photo feature. This burst shooting function further blurs the line between video and stills by letting you pluck 18-megapixel stills from a 6K/30p video.

The GH5 is a big winner when it comes to video, although it doesn't deliver class-leading still photo performance for the price. We have some issues with the GH5 that comes down to what its competition has to offer—perhaps the biggest problem is the lack of phase detection autofocus for better tracking. And even though Panasonic did a superb job rounding out features for video shooters, you'll have to pony up an extra hundo for the super-flat V-Log L color profile.

About the Lumix GH5

On paper, at least, the GH5 looks a bit like the competing Olympus OM-D E-M1 Mark II. There's a 20-megapixel Four Thirds sensor in there, with 5-axis in-body stabilization, weathersealing, dual card slots, and a plethora of ports. But, once you dig into the video specs, it's clear the GH5 is far ahead of the Olympus, with stellar 4K/30p, as many 1080p shooting modes as anyone would want, and even 4K/60p internal. By the end of 2017, the GH5 will be the most fully-featured video-centric mirrorless camera for under $2,000 thanks to firmware updates that will unlock even more shooting modes—assuming Panasonic doesn't charge for them.

Sensor: 20.3-megapixel CMOS image sensorProcessor: Venus Engine 10Burst Speed: 9fps w/ continuous AF/AEAutofocus System: Contrast-detection with DFD (Depth from Defocus)Image Stabilization: 5-axis OIS with 5-stop performance (CIPA)Video: 4K/UHD at 30fps 4:2:2 10-bit up to 150Mbps, 4K/UHD at 60fps 4:2:0 8-bit (internal), up to 4K/60p 4:2:2 10-bit (external over HDMI)Viewfinder: 3,680k-dot OLED with 0.76x magnificationBattery: BLF19PP battery rated at 410 shots (CIPA)Ports: USB-C 3.1 Gen 1, HDMI, mic, headphone, flash syncShutter: Mechanical with electronic, 1/16,000th max shutter speed electronicMemory: Dual SD card slots with one UHS-II compatible slotPrice: $1,999 USD, body-only

Advertisement - Continue Reading Below

What We Like

A rock-solid Lumix with pitch-perfect controlsPanasonic's cameras have been reliably well-built for years, but the GH5 takes everything I love about Lumix cameras to another level entirely. Its build and design are what a flagship should be like in 2017. The previous GH3 was great for its time, but today it just looks outdated. The GH4 was mostly the same camera on the outside, and after three years of service, it needed an overhaul. This GH5 finally puts the entire design under the microscope, tweaking and adding useful touches that make for a massive improvement.

Credit: Reviewed.com / Brendan Nystedt

The bigger grip makes room for a handy new video record button.

The GH5 truly feels like a tool designed to last for years. Its rugged, weathersealed body sports a curvier look with reworked controls. The grip's bigger, which helps when you have big lenses mounted. A rear control dial complements the standard one that's been on the top since the GH3. Joining the trusty ISO, WB, and exposure compensation buttons by the shutter and top control dial is a flat, distinctly-shaped video record button, which I think underscores this camera's dedication to true hybrid shooting.

Around the back, underneath the handy focus mode selector is a new AF point selection joystick. I don't mean to beat this point into the ground, but joysticks are very in this year, and Panasonic is clearly hoping enthusiasts see this as a mark of its professional legitimacy. It's the best way for me to keep my eye on the EVF and still move around where I want the camera to focus without skipping a beat.

Panasonic has all but ripped up my "honey-do" list of requests.

The GH5 might be bigger than any previous GH camera, but Panasonic's design team have made the most of it. This is, in my opinion, the best-feeling Lumix that the company has ever put out.

Panasonic gives pros more to work withIf I had to gripe about anything on the GH4, it'd mostly be about the port selection and the lack of a second card slot. With the GH5, Panasonic has all but ripped up my "honey-do" list of requests. If you hated carrying HDMI adapters with you to convert full-sized HDMI to microHDMI, then you'll be glad to find that the GH5 has a full-sized HDMI for your convenience. No longer will you need to spring for the big, expensive YAGH attachment if you want a more convenient port for piping your video to an external recorder. USB-C is also along for the ride, giving the GH5 fast USB 3 speeds through a future-proof connector.

Credit: Reviewed.com / Brendan Nystedt

At last, Panasonic includes a full-size HDMI port on a GH flagship!

And in true pro fashion: we finally get dual card slots! It's key thanks to the GH5's pro-grade internal recording capabilities, letting videographers finally carry all the storage they need. The card slots have all the usual file-juggling options, and it's surprisingly customizable with the "Double Slot Function" menu; you can decide where to file away your 4K video, 6K bursts, JPEGs, and RAWs on either of the two cards.

Spring for the extra DMW-XLR1 accessory, and you'll be able to get on-camera physical audio controls and the addition of two XLR ports. Previously, you needed the bulky, $1,000 YAGH unit to add SLR, SDI video, and level controls, but now it's as easy as clipping a small pod onto the hot shoe.

Burst and video shooting modes that will make your head spinRight now, the GH5 can shoot Cinema 4K and 4K at 10-bits (150Mbps) 4:2:2 in the camera's MP4 LPCM mode to the camera's internal storage—no external recorder required. Both 30 and 24p native framerates are ready and raring to go. With the upcoming 1.1 firmware update, Panasonic is unlocking 1080p 10-bit 4:2:2 shooting at 60, 30, and 24 FPS. Anamorphic 4K is also getting a big boost, adding a 30p and 24p option at 10-bit 4:2:2 as well. All-I 400Mbps recording options are slated for another update later on this summer.

Of course, if you want to use an external recorder like the new Atomos Ninja Inferno, you can capture 4K/60 at 10-bit with 4:2:2 chroma subsampling, which is about as good as it gets! What's even better is that the extra 2.2x crop for 4K that the GH4 had to make do with is gone, and you'll get 4K and HD without having to sacrifice wide-angle shots. The full sensor is utilized here, and it's downsampled from a higher res providing extra sharpness. If you wanted to have a little extra crop to digitally zoom into the scene, there are 2x and 4x digital zoom levels built-in.

The fast readout speeds of the GH5's sensor also unlocks an unbelievably fast 6K Photo mode, which shoots a 6K/30p stream that you can chop into individual 18-megapixel frames. This is the next generation of Panasonic's great 4K Photo mode, which itself gets a big boost to 60 fps bursts of 8-megapixel shots. If you're willing to go through the video files and pluck your best shots from the stream, this works well. I think my only complaint about these video-to-stills modes are that it's still kind of a chore to find the best shots, and I'd love to see some automation of that process in the future.

Dynamic range that's just about as good as APS-COne weakness of Micro Four Thirds for the past five years is how much dynamic range the sensors can crank out. While a modern APS-C sensor in a camera like the Nikon D500 could hit 14 stops of dynamic range, even the best Olympus or Panasonic would have to make do with a litle less. The 20-megapixel sensor in the GH5 gets much closer to an APS-C sensor. In our test, we were able to get 12.5 stops of DR from the GH5 at its base ISO 200. It's a small improvement, but any improvement in this area is very welcome.

9.2

Panasonic Lumix DMC-GH4

What We Don't Like

Advanced video features are standard…except for oneHonestly, It's astonishing how much stuff Panasonic crammed into this camera. Everything from the programmable rack focus system to the built-in waveform monitor and LUT monitor display makes it an amazing package for video.

That said, Panasonic skimped on one critical feature: flat color profiles. After all, if you're going to really get all this camera has to give from its 4:2:2 10-bit footage, you're going to want to color grade yourself. While Panasonic gives users a couple of options for free, you're going to have to pony up to unlock the real deal V-Log L color profile.

Credit: Reviewed.com / Brendan Nystedt

Reworked menus make the GH5's complex features relatively easy to access.

In our tests, we found that even though you could get by using either the Cinelike V or 709-like color profiles that cost $0 to use, you're losing out on roughly 2 stops of dynamic range when compared to V-Log L. So, if you're serious about eking out every last drop of detail from a shot, the GH5 actually costs $2,100, not even including any lenses or other accessories.

Big and heavy for Micro Four Thirds…but that's not always terribleThe GH cameras tend to be bigger than what Olympus offers up. The GH5 takes this to the next level, however, and it's significantly heavier than the latest flagship Olympus OM-D. While it's small-ish, the GH5 is within striking distance of its DSLR competition. For example, the Nikon D7200 is only a little heavier and taller, while the GH5 is ever-so-slightly flatter and wider. That aside, the GH5's main video competition—the Canon EOS 5D Mark IV—is significantly bulkier.

Doubling the GH4's slots mean you're free to shoot for longer or compartmentalize different types of files on their own card.

As far as the smaller-and-lighter mirrorless set is concerned, the GH5 might be a disappointment. But, looking at what that extra size and weight unlocks, I think it's worth it. By making this camera bigger than its predecessors, Panasonic was able to bolster the camera's heatsink system, add in-body image stabilization, and even turn the HDMI port into a full-sized one. If you're a run-and-gun videographer, the GH5 is still a bit of extra bulk, but the capabilities you gain are well worth it.

It's disappointing Panasonic didn't try to one-up Canon's Dual Pixel AF

Autofocus is contrast-only, no phase detectionAutofocus is the only thing that Panasonic didn't significantly improve with the GH5, and that's a bummer. Compared to competing cameras from Olympus, Sony, and Canon, Panasonic's autofocus is a little behind the pack. Without phase detection autofocus, you'll just be relying on only contrast detection.

Sure, Panasonic's DFD (Depth from Defocus) technology will theoretically speed up focusing, but it's only compatible with Panasonic lenses. Given that Canon's Dual Pixel AF continues to develop in ways that make beautiful, automated focus pulling a breeze, it's disappointing that Panasonic didn't have much to add with the GH5's autofocus software.

Should You Buy It? This is an easy decision for videographers—heck yes.

Despite its few shortcomings and high price, the GH5 continues a Lumix tradition of giving videographers everything they'd want in a mirrorless body. Compared to Canon's 5D Mark IV the Panasonic makes next-to-no tradeoffs—this is a video camera first and foremost, while the Canon only goes so far to give video shooters exactly what they need. Things like the 5D IV's 1.74x crop factor for 4K shooting mean that its full-frame sensor advantage is all but negligible, and the fact that external 4K recording is verboten is maddening. For $1,500 less, you get more. It's that simple.

Credit: Reviewed.com / Brendan Nystedt

Between these two Micro Four Thirds flagships, the GH5 is the obvious pick for the best video.In my opinion, if you're not a video shooter, the GH5 has a lot less to offer than the competing Olympus OM-D E-M1 Mark II. That said, I think the GH5 stands out way more than the Olympus flagship simply because it has so many unique abilities. It begs to be compared to more expensive cameras, and it comes out on top in a lot of ways. This is one of the best video cameras ever.

When taken as a whole, the GH5 is a camera unlike any other. It's not perfect, and it's not going to be everything to everyone, but Panasonic has pushed the envelope for another generation of GH. It might make your wallet hurt, but the GH5 the best camera Panasonic has ever produced, and one of the best video cameras ever. As a video tool, the GH5 is second to none.

Our editors review and recommend products to help you buy the stuff you need. If you make a purchase by clicking one of our links, we may earn a small share of the revenue. Our picks and opinions are independent from any business incentives.

Source: Panasonic Lumix GH5 Digital Camera Review

Hands on with the surprise new Sony a9 mirrorless camera

Ned Soltz was one of the first people in the world to try Sony's surprise new mirrorless camera, the high-end a9, in an eight-hour shoot in New York. He's impressed with what he found.

[If you missed the news about Sony's new a9 camera, you can read all about it here: Sony's surprise new Alpha 9 full-frame 4K mirrorless camera.]

First off, an apology. We have no footage and we have no shots taken with the a9. Well we do, but we're not allowed to publish them yet. Images are under embargo until Wednesday, April 27 while Sony conducts a series of launch events in different cities around the world, so that part will have to wait till next week.

We are allowed to share our thoughts about the camera though. So, here are my initial reactions.

Video shooters may be disappointed that the camera does not have SLog. Several of us spoke with Sony representatives and aired that disappointment. The responses were interesting. First of all, Sony denies any "conspiracy theory" that one hardware line is disabled in order to prevent it for cannibalizing sales. Sony says it chooses feature sets based on anticipated user need. In the case of the a9, Sony's unofficial response is that video shooters already have the a7R II and a7S II, which have log.

But more important is the response that this camera is not targeted specifically to be a video camera. It is a flagship high-speed mirrorless camera for the newsgathering, sports, wildlife and fast-paced event market segments.

In that it hits the mark. With its choice of high, medium and low-speed continuous shooting, the a9 can shoot up to 20fps. And that's even of RAW video. I shot RAW+JPEG (both compressed and uncompressed) and was hard pressed to fill the buffer.

Absurdly fast shutter speed is essential for the targeted market segment. One of our scenes set up by Sony was the ice rink at Chelsea Piers. On a lark, I set up a 1/32,000 shutter speed with a correspondingly high ISO. I could capture still images of the puck mid-air with no blur, that as well being assisted by the camera's autofocus system. I wish I could show you now perfectly unblurred shots of the puck in mid-air, but that's going to have to wait till next week

Over an 8 hour period, I shot about 3500 stills as well as several minutes of video divided between different clips. The new high capacity battery showed 26% remaining even after heavy shooting all day.

A real question, though, is how many Canon 1DX or Nikon D5 users will make the switch. At $4495 it's not cheap, but I would speculate that there will definitely be-high end professionals who adopt Sony as a result. It simply has too many features needed by professionals that the current flagship cameras don't incorporate.

We'll share those photos and videos as soon as the embargo passes.

Source: Hands on with the surprise new Sony a9 mirrorless camera

Sony a9 full-frame mirrorless camera with 24.2MP stacked CMOS sensor launched

The Sony a9 is priced at about Rs. 3,72,400 in the UK and offers shooting at 20fps for up to 241 RAW or 362 JPEG images

Sony has unveiled its new flagship full-frame mirrorless camera called the a9. The company claims it to be the world's first 24.2MP full-frame stacked CMOS sensor, which offers 20x faster data processing as compared to previous Sony full-frame mirrorless cameras. The camera is capable of shooting at 20fps for up to 241 RAW or 362 JPEG images and sports an upgraded version of the BIONZ X processing engine. It has a maximum shutter speed of up to 1/32,000 seconds with 5-axis image stabilization. For video, the Sony A9 is capable of 4K video capture, while Full HD videos can be captured at 120fps. The camera is priced at £4,500 (appox. Rs. 3,72,400) in the UK, and it is not yet known if or when it will launch in India.

The Sony a9 features 693 point focal plane phase detection autofocus points and the company says that it offers 60 AF/AE tracking calculations per second. Other features include an ethernet port for file transfers as well as dual-SD card slots. It sports Sony's new NP-FZ100 battery, which the company say is 2.2 times the capacity of previous Sony full-frame models. The camera also sports a Quad-VGA OLED electronic viewfinder.

Other Popular Deals

XOLO ERA 1X -4G with VoLTE...

Swipe Elite 3 - 4G with VoLTE(2...

Coolpad Note 5 (Royal Gold, 32...

Interesting Galleries Top 3 compact advanced point &...

Top Budget Point & Shoot Cameras under Rs. 10,000

Top cameras to buy in India under Rs. 30,000

Best high-end DSLR cameras to buy this Diwali

Best budget DSLR cameras to buy this Diwali

Nikon D610

Looking Back: The most iconic cameras of all time

Best cameras to buy under Rs. 35,000

Sony Alpha 7R II, Sony RX100 IV and Sony RX10 II: First...

Fujifilm X20

​
Source: Sony a9 full-frame mirrorless camera with 24.2MP stacked CMOS sensor launched

GFX Medium Format Mirrorless Camera System Adds Two New GF Lenses For Portraits To Picturesque Scenes

Valhalla – WEBWIRE – Wednesday, April 19, 2017

Valhalla, N.Y., April 19, 2017 – As the leader in innovation for photographers, FUJIFILM North America Corporation today announces two new GF lenses for the FUJIFILM GFX 50S medium format mirrorless digital camera system, the GF110mmF2 R LM WR (equivalent to 87mm in 35mm format) and the GF23mmF4 R LM WR (equivalent to 18mm in 35mm format). A new GF lens roadmap is released today, along with plans for a new FUJIFILM GFX 50S firmware update this spring. FUJINON Lenses Guarantee Image PerfectionAs part of the GFX system, Fujifilm is launching newly developed, ultra-high resolution FUJINON GF lenses. Taking advantage of the mirrorless system's structure, the G Mount has a short flange back distance of just 26.7mm that reduces the back focus distance as much as possible. This prevents vignetting and achieves edge-to-edge sharpness. All FUJINON GF lenses have been designed to support sensors of over 100MP. New Lenses Deliver Image ExcellenceThe FUJINON GF110mmF2 R LM WR is a mediu m telephoto lens perfect for portraits. With a focal length equivalent to 87mm in the 35mm format, it achieves a brightness of F2.0 when used wide open to deliver stunning bokeh. The FUJINON GF23mmF4 R LM WR has a focal length equivalent to 18mm in the 35mm format and is expertly suited for landscape and architectural photography. Despite the super-wide angle of view, distortion is kept to a minimum, and with the high-resolution performance extending all the way to the edges, sharp depiction as if looking at an actual landscape is achieved. Both new lenses feature fast and quiet autofocus (AF) by using a linear motor, are dust and weather resistant, and are capable of operating in environments as cold as 14°F / -10°C. The lenses combine high performance and reliability for professionals looking for the ultimate in photography tools. Current Lens Lineup

GF63mmF2.8 R WR (equivalent to 50mm in 35mm format)

GF32-64mmF4 R LM WR (equivalent to 25-51mm in 35mm format)

GF120mmF4 Macro R LM OIS WR (equivalent to 95mm in 35mm format)

 Coming Later in 2017

GF45mmF2.8 R WR (equivalent to 35mm in 35mm format)

 FUJINON GF110mmF2 R LM WR Key Features

FUJIFILM G Mount is compatible with the FUJIFILM GFX 50S

Weather-resistant design capable of operating at temperatures as low as 14°F / -10°C

14 elements in 9 groups, including 4 ED lens elements

Super ED lens and three ED lenses for suppressed chromatic aberration and high resolution performance all the way to the edges

9 blade aperture creates smooth and circular bokeh

 FUJINON GF23mmF4 R LM WR Key Features

FUJIFILM G Mount is compatible with the FUJIFILM GFX 50S

Weather-resistant design capable of operating at temperatures as low as 14°F / -10°C

12 groups and 15 elements construction using two aspherical lenses, one super ED lens, and three ED lenses

9 blade aperture creates smooth and circular bokeh

Nano GI coating suppresses ghosting and flare

 The GFX 50S and FUJINON GF lenses culminate to create a new camera system capable of creating the world's highest level of photographic expressions by combining the thorough incorporation of knowledge regarding camera operation, optical design, image capture, and image processing. New FUJINON GF Lens Development RoadmapFujifilm has publicly announced six lenses for the G Mount lens lineup this year. After the release of the GFX 50S and three G Mount lenses, Fujifilm is now unveiling a new roadmap with the additions of a telephoto prime lens and tele converter, in order to expand products covering telephoto ranges, an area with many requests from users. With the addition of the two new lenses, the G Mount system lineup has been expanded to a total of eight lenses, achieving a fulfilling lineup to correspond to a wide range of user needs. Also coming in June 2017 is a new View Camera Adapter G that can be used when shooting with the GFX 50S when using previous FUJINON large f ormat camera lenses, such as the CM FUJINON. The adapter is mounted in the film camera loading position of the view camera which adopts the film format of the 4x5 size. New Firmware Update PlannedFujifilm will release a free firmware update for the FUJIFILM GFX 50S later this spring, adding new functionality and improving operability. New functions include computer tethering via Wi-Fi and improved operability in exposure compensation and autofocus performance in difficult scenes. Availability and PricingThe GF110mmF2 R LM WR will be available in Late June, 2017 for USD $2,799.95 and CAD $3,600 and the GF23mmF4 R LM WR will be available in Late June, 2017 for USD $2,599.95 and CAD $3,400. The FUJIFILM GFX 50S Medium Format Camera Body is available now in the U.S. and Canada for USD $6,499.95 and CAD $8,499.99.  About FUJIFILM North America Corporation, Electronic Imaging

For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss. About FujifilmFUJIFILM Holdings America Corporation is based in Valhalla, New York, and is the regional headquarters for the Americas. It is comprised of fourteen directly owned subsidiary companies in the U.S. and Canada, and two in Latin America: Brazil and Colombia. The company manufactures, markets and provides service for a broad spectrum of industries including photographic, medical imaging and informatics, pharmaceutical and other life science industries. Industrial segments include data storage, electronic materials, chemical, and graphic arts products and services. For more information, please visit www.fujifilmusa.com. FUJIFILM Holdings Corporation, Toky o, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2016, the company had global revenues of $22.1 billion, at an exchange rate of 112.54 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.  All product and company names herein may be trademarks of their registered owners.###

( Press Release Image: http://photos.webwire.com/prmedia/29115/208790/208790-1.jpg )

Related Links http://www.fujifilmusa.com http://www.fujifilmusa.com/products/digital_cameras/gfx/

WebWireID208790

Contact Information Matthew Schmidt Senior Manager, Corporate Communications Fujifilm Contact via E-mail

This news content may be integrated into any legitimate news gathering and publishing effort. Linking is permitted.

News Release Distribution and Press Release Distribution Services Provided by WebWire.

Source: GFX Medium Format Mirrorless Camera System Adds Two New GF Lenses For Portraits To Picturesque Scenes

Commentary Fantasea Line Introduces FA6500 Underwater Housing For Sony a6500, a6300 Cameras

Underwater shutterbugs who prefer Sony cameras now have a new option for housing their cameras when they go diving. Underwater imaging company Fantasea Line recently introduced its latest FA6500 housing for the Sony a6500 and a6300 mirrorless cameras. The FA6500 Housing features an ergonomic, stylish and durable design with access to all essential camera functions. An interchangeable FML lens […]

Read the original post on DeeperBlue.com...

Source: Commentary Fantasea Line Introduces FA6500 Underwater Housing For Sony a6500, a6300 Cameras

FUJIFILM SQUARE Opening 10th Anniversary Photography Exhibition Inside Mirrorless Digital Camera “FUJIFILM GFX 50S”

In FUJIFILM SQUARE (Fuji Film Square), commemorating the tenth anniversary of the opening of FUJIFILM SQUARE from April 21 (Fri), April 27 (Thurs), 2017, photographer Noriichi Nakamura photo exhibition "dewy" We will hold it.

Mr. Seiichi Nakamura is an advertising photographer who is known for taking extremely high-level works in all genres such as commodity photography, flowers, portrait, with high photography technology and lighting technology. That work has crossed the advertisement area and has earned high praise both at home and abroad as a work of art. This photo exhibition "dewy" is a medium-size mirrorless digital camera "FUJIFILM GFX 50S" boasting the world's highest level of high image quality newly developed by Fujifilm, using Mr. Nakamura for this photo exhibition, It is made up of very fantastic and beautiful works.

<Words of author>I have been working on the theme of "water and light" as one of my life works.Today, we will challenge a new shooting area with the new medium format digital camera "GFX 50S" developed by Fujifilm. Please enjoy overwhelming tone reproduction developed in large format print, and beauty of unknown area absolutely.

※ dewy = Dew wet condition※ On April 22 (Saturday) and 23 (Sun), we will hold a gallery talk by Mr. Seiichi Nakamura as a photo exhibition joint event.

Nakamura Seiichi ProfileHe is involved in advertisement production and photography of "Hanatsubaki" magazine etc. at Shiseido Propaganda Production Department. 2006 Nakamura Photo Office Co., Ltd. established. A solo exhibition is held at KODAK Photo Salon, ARTBOX Gallery, FireKing Cafe. Dentsu Prize Division Award, Asahi Advertising Award, ADC Award, Yearbook Japan Advertising Photography Excellence Award, Others Winner. Part time lecturer at Musashino Art University.

Duration Friday, April 21, 2017 – Thursday, April 27, 2017 Opening hours 10: 00 ~ 19: 00 during the holidays (The last day is until 16: 00 / Admission is ten minutes before the end) Venue FUJIFILM SQUARE (Fuji Film Square) 1st Fuji Film Photo Salon Tokyo Space 1 Number of works About 20 points Admission fee free Sponsorship FUJIFILM Corporation

Via Fujifilm.jp

Source: FUJIFILM SQUARE Opening 10th Anniversary Photography Exhibition Inside Mirrorless Digital Camera "FUJIFILM GFX 50S"

Are Mirrorless Camera Sales Really Growing?

As a brief follow up to Nasim's excellent post, Sony "Overtakes" Nikon in Full-Frame Sales, this brief article shares some recent CIPA statistics regarding the shipment of mirrorless interchangeable lens cameras. Depending on how a person interprets this data will determine whether the mirrorless interchangeable camera market is 'growing'.

As you can see in the graph above, if we look at global unit volume of shipments of mirrorless interchangeable lens cameras from 2012 through to 2016 the market has actually declined from 3.95 million units in 2012 to 3.15 million units in 2016. So, in absolute units the mirrorless market has not grown.

By comparison the unit shipments of DSLRs has declined much more rapidly than mirrorless. Since 2012 the number of DSLRs shipped has declined from 16.2 million units down to 8.45 million units in 2016.

Obviously if the mirrorless camera market has been declining at a much slower rate than the DSLR market, then the market share of mirrorless cameras has increased during this five year period. As you can see in the graph above, this has been the case with the share of mirrorless cameras going from 19.6% to 27.2% of the total interchangeable lens camera market.

Early signs with CIPA data for Jan-Feb 2017 points to an increase in the actual unit volume of the interchangeable lens camera market. However using only 2 months of data to assess a potential market trend is not a prudent thing to do as Nasim pointed out in his original article.

Article and graphs Copyright 2017 Thomas Stirr. All rights reserved. No use, adaptation or reproduction of any kind is allowed without written permission

Source: Are Mirrorless Camera Sales Really Growing?

Fujifilm GFX Focusing Precision and Aperture Series with 63/2.8: View to Mt Whitney From Alabama Hills

2017-04-14 - SEND FEEDBACK

Search for: medium format, how-to, Fujifilm, focus, Fujifilm 63mm, Fujifilm GFXRelated: medium format, how-to, Fujifilm, Fujifilm lenses, focus, Fujifilm 63mm, Fujifilm GFX

Like the Cerro Gordo Church series, this series shows the problematic focusing imprecision that plagues the Fujifilm GFX, with all its lenses (32-64mm, 63mm, 120mm). I don't expect behavior to be any different with the 23/4 and 110/2, but I am curious to see if it is better or worse with the 110/2 since there is razor thin depth of field at f/2 at 110mm.

The variability shown here was observed over and over in the field, a great source of aggravation because it becomes hit-and-miss to obtain optimal results. The greatest errors occur at distance where focusing precision is at its worst, and where tiny changes in focus can make a big difference.

Fujifilm GF 63mm f/2.8 Aperture Series: View to Mt Whitney From Alabama Hills (Focus Variability)

Image sizes up to full resolution from f/2.8 through f/8, along with crops.

Mt Whitney and Whitney Portal, as viewed from Alabama Hills

f8 @ 1/300 sec, ISO 100; 2017-04-02 07:17:48GFX 50S + GF63mmF2.8 R WR @ 50mm (63mm)

Source: Fujifilm GFX Focusing Precision and Aperture Series with 63/2.8: View to Mt Whitney From Alabama Hills

Three Camera Specs Manufacturers Love to Sensationalize That You Should Actually Just Ignore

Another day, another new camera has been announced. Most of the time the latest and greatest doesn't actually solve any real world problems or improve the shooting experience for the average photographer in any way. That said, camera makers have become rather adept at writing specs sheets designed to make you think that the latest and greatest in camera tech will revolutionize your shooting experience and thus, in turn, your work. I call hogwash, especially in terms of some of their favorite specs that they use to hide the fact that you really don't need a new camera.

Resolution

Pretty much every DSLR on the market boasts about the resolution of their latest camera despite the fact that, with the exception of a few outliers, the vast majority of DSLR and mirrorless cameras fall in the range of about 16 to 24 megapixels. Certainly not revolutionary and also not something that is likely to have a meaningful impact on the quality of your work. Sure, you may notice a big difference between a 6-megapixel camera from a decade ago and a 36-megapixel modern beast, but a difference of 4 megapixels just isn't going to make a difference in your photography. A good photo will still be a good photo, regardless. And in case you were wondering, magazines looked just as good a decade ago as they look now with images that were half the resolution.

What really matters: Far more important, and meaningful, is dynamic range which is often something camera makers don't even bother mentioning. A camera with superior dynamic range can completely change the way you shoot as it turns creative directions that were previously impossible into opportunities. I remember when I upgraded from a D700 to a D800 years ago it was like redefining how I worked with my camera. Not because of the giant increase in resolution but because of how much I could push shadows and highlights in post.

ISO Range

Boosted ISO is now formidably jumping up into the millions. For the vast majority of photographers this is completely useless, but camera makers are sure excited about being able to put the word "million" in their brochure. It's just such an impressive number, especially for photographers who never go over ISO 400 or 800. I've got a secret for you: even when you buy that new camera you still probably won't be pushing your ISO much higher because the noise still sucks. Being able to boost to a million ISO is does nothing for the vast majority of photographers. 

What really matters: The true key to ISO that I look for is low noise at relatively low ISO values. I don't care if my sensor can boost to a trillion if the noise at 800 still is pretty bad. Camera makers never really talk about noise levels at usable ISO ranges, but personally that is what I look for in ISO. Using that same D800 above as an example, one major failing of that camera was its ISO performance in the lower range. The difference between a D800 and D810 at ISO 800 was formidable yet you never see that printed on any specs sheets.

Buffer Size

Fantastic, I can shoot dozens of photos in burst mode before the buffer fills and the camera slows down. For the vast majority of photographers this spec ranges from utterly useless to mostly useless yet it is often one that is near the top of spec sheets being used to market a camera. Being able to burst 50 or 100 images at once really isn't useful or helpful in the real world. Even action shooters aren't bursting long enough to need a buffer that size.

What really matters: The main reasons that many photographers burst is to capture an ideal moment in time or in order to increase the odds of capturing a sharp exposure. In both cases, better, faster, and more accurate autofocusing systems offer far more benefit than a massive buffer ever will be able to. 

Conclusion

As a whole, stop obsessing about specs sheets. Most of the time they are simply designed as marketing machines to build hype about features that don't actually deserve any hype. Instead, if you feel you need a new camera, evaluate why you think that your current camera is failing you. Define what it lacks then look for a camera model that fills those gaps with as few compromises as possible. This method will ensure that you are upgrading in a meaningful way rather than just letting some arbitrary specs sheet vacuum money from your wallet for no reason other than to own the latest in marketing jargon. Finally, if you ever need a reminder of how ultimately unimportant camera specs are, head over the 500px and search for images made with a camera that is several generations out of date only to be amazed by results that can stand up against work created with the latest R&D magic. It doesn't take a billion dollars in new R&D to make an amazing photo. All it takes is an amazi ng photographer with the dedication to create something special.

Source: Three Camera Specs Manufacturers Love to Sensationalize That You Should Actually Just Ignore

Review: Fujifilm X-T20, a camera you can grow with

The X-T20 has high-end features such as 4K video and a touchscreen.

The thing I dislike most about my camera is its large size. 

Its bulk means I often leave it at home when venturing out and end up missing photo opportunities.

But technology is helping to shrink cameras while making them almost as powerful as those used by professional photographers.

These mirrorless cameras can be up to half the size of their DSLR siblings, and while they lack in a few areas, they are a good option if you want a lightweight camera capable of taking great images and video.

There are several to choose from, including cameras from Sony, Panasonic, Fujifilm, Olympus, and Canon. 

Fujifilm's offering is the X-T20 which was recently released in New Zealand. The body and 18-55mm kit lens cost $2430. 

It's a petite camera weighing 383 grams, small enough to fit in a jacket pocket if paired with a pancake lens.

However, it has a lot of power packed into it with all the features you need to progress your photography. 

All cameras now are capable of producing excellent images, and this mak es it hard to choose a camera to buy.

So why consider the X-T20?

The X-T20 was recently released in New Zealand.

The first and most important reason is that it's easy to use.

The best cameras are the ones that have a design that makes you want to use it and gets you excited about taking photos or recording video.

A big part of this is how you interact with the camera, especially when adjusting the most common functions such as shutter speed, aperture, and ISO.

This is done on the X-T20 by using physical dials rather than changing settings on a screen. There's also a switch for changing your focus from single shot to continuous. And if you want to adjust your frame rate (how many pictures you take per second) then, you guessed it, adjust another dial.

I found it took a while to get used to the dials but after a few days, I found I preferred it to how my current camera works.

Fujifilm also tries this simple approach with its other features. For example, it has two on-screen menus where you can save your most commonly used features. 

But the most blatant example is the Auto switch. Just flick this on and point and shoot with your camera. While experienced photographers may look down on using a camera in this way, it's great for those learning or anyone who has a brain freeze when quickly trying to capture a moment.

Ad Feedback

But when you dig deeper into the X-T20 you can find some high-end features such as 4K video, a touchscreen and the ability to let you set how you track a moving subject.

This mix of simple and high-end makes this camera appealing. It means aspiring photographers can access more features as they progress.

However, the most important thing about a camera is its ability to take high-quality images and video (though the key to good photography lies with you, not the camera).

The X-T20 can produce beautiful photos and footage. It does this by having nearly all the same tech from the professional-level cameras in Fujifilm's range.

It has a 24MP APS-C sensor, which is the same physical size found in enthusiast-level DSLR (digital cameras that use a mirror) cameras made by Canon and Nikon.

It can also use the same Fujifilm lenses as those on its pro-level camera. This is an important point as some camera systems have two or three different lens mounts so you can't use just any one you like.

Adding to this is that its lenses are highly regarded by reviewers.

The X-T20 faces stiff competition in this market of small, reasonably affordable mirrorless cameras. Canon (M5), Sony (A6300) and Panasonic (G85) all have good cameras, all with different strengths.

Another positive thing about Fujifilm is that it's got an engaged online community, which is handy for learning about your camera and gleaning tips and tricks.

If you are looking for a new camera, then read reviews and visit your local camera store. This last part is important as it's good to handle a camera before you buy. 

Part of the reason to make this visit is that this style of camera is quite small. I found the X-T20 hard to hold solidly but you can buy a grip that makes it easier to wield. 

But that's the compromise you make for such as portable device. Its petite size makes it light and easy to carry around while out and about or travelling, which is the whole point of a camera like this. 

I really enjoyed using X-T20 and the features and tech packed into its small body are more than enough for any photographer to produce great images and video.

 - Stuff

Source: Review: Fujifilm X-T20, a camera you can grow with

The Ultimate Gimbal Review & Comparison For Mirrorless Cameras With Lee Morris

Videographers and cinematographers are constantly challenged to raised the quality of their product and accomplishing this takes more than merely having a camera stuffed with the latest specs. A good storyteller needs to be able to present footage that is visually captivating, immersive, and even inspiring, and one of best ways to provide this is through dynamic camera movements.

Sweeping shots where the camera seems to glide on air used to be a sign of Hollywood level productions, but, like all technology in our industry, this too has found its way down to the masses. Our friend at Fstoppers, Lee Morris, has tested six gimbals for mirrorless cameras to help you find the best tool to add this element to your shooting. You can find Lee's original post here, and a list of the gimbals mentioned in the video can be found below.

1 – CAME-TV CAME-Single 3-Axis Handheld Camera Gimbal

2 – ikan DS1 Beholder Gimbal for Select DSLRs and Mirrorless

3 – ikan EC1 Beholder 3-Axis Handheld Gimbal Stabilizer

4 – Feiyu MG Lite 3-Axis Motorized Gimbal

5 – Glide Gear Geranos 3-Axis Stabilizer for Mirrorless and DSLR Cameras

And the winner is…

6 – Zhiyun-Tech Crane 3-Axis Handheld Gimbal Stabilizer

Thoughts

Recently, I've noticed the Zhiyun-Tech Crane has become a popular choice amongst many Youtubers and, I presume, many working professionals out in the field. It seems to strike the right balance between ease of use and functionality, which is essential for anyone working alone. Gimbals in general change how you shoot and have raised the standard of what any video creator can produce, but more importantly, what clients can expect and demand. Lens or in-body image stabilization is not longer sufficient and this is the type of tool that anyone shooting video won't be able to avoid.

Here are some examples of what you can get out of the Zhiyun Crane.

Related Articles  5 Fast Tips for Fast-Cut Video Editing Our 5 Favorite Budget Stabilizers | Gear Talk Episode 6
Source: The Ultimate Gimbal Review & Comparison For Mirrorless Cameras With Lee Morris

The ONA Savannah Bag is Designed to Fit a Variety of Cameras (And Stuff)

ONA has just announced a brand new camera bag: the ONA Savannah. This is a smaller camera bag not designed to hold a whole lot of stuff and instead really targeted at the photographer who has a small kit on them and worries about the whole editing process at a later time frame. The bag is made of all leather and has a foam padded interior, magnetic closure, and zip pockets.

The ONA Savannah was designed to either be worn over one shoulder or cross body. To that end, it's also got a very small and thin looking strap. However, when you consider the bag is designed to hold a DSLR and lenses or a mirrorless camera and lenses, then it starts to make a bit more sense. If you remove the interior dividers, you can use the bag as an every day style carrying bag.

Personally, the rounded bottom looks a bit odd to me but I haven't seen or tried this bag in person. It makes me believe the product is a bit more tailored towards women–which is absolutely perfectly fine. I haven't seen many camera bags with a round bottom shape. However, I'm sure that considering ONA's design principles it will get better with age. It's designed to get worn away and beaten up with everyday use. More photos and tech specs are below. It'll run you $219 when it launches on Wednesday.

Exterior Dimensions: 8"Hx9"Wx4.5"D

Internal Dimensions: 6"Hx8.5"x3.5"D

Weight: 1.1 lbs

Colors: Black

Source: The ONA Savannah Bag is Designed to Fit a Variety of Cameras (And Stuff)

Fujifilm X30 Review: Finding Your Very Own Mirrorless Camera

Fujifilm X30 Review: Finding Your Very Own Mirrorless Camera www.sleeklens.com

With the steep rise of mirrorless cameras the compact camera market never needed a little breath of fresh air as it needs it now. Sony did it with their RX lineup of cameras and now Fuji aims to bring some new blood with the X30. Where Sony's latest is aimed at the more advanced users with deeper pockets Fuji's plan is to do a similar thing for a lot less money.

While the X30 has a smaller sensor and doesn't sound as advanced in some areas it still looks like quite a bargain when you take a look at its specs sheet. It's always refreshing to see a compact camera with larger than average sensor, fast lens and quality hardware and the X30 ticks all of those boxes. We really like what Fuji has come up with in regards to this camera and we hope that our impressions will be positive enough and worthy of such an established manufacturer. Let's see if we are in for a surprise or the X30 will really be a worthy enough alternative for those who want a great advanced compact camera that doesn't cost an arm and a leg to buy.

It would be an understatement to call the specs list of the X30 an interesting one. As usual, we will begin our talk with the camera's sensor. Here you'll find a 2/3 inch 12 megapixel X-Trans CMOS II sensor. This means that the sensor size lies between the conventional compact camera and the Sony's familiar 1 inch sensors and we could call it a golden middle for a camera at this price point. So, you could expect the image quality that sits right in between.

Pros

Built-in WiFi

Image Stabilization

Articulating Screen

Long Battery Life

Manual Focusing

Manual Exposure

Cons

No touch screen

Heavy body

No weather sealed

No panorama mode

Low resolution sensor

Click to read the full Review On top of that sensor lies a 28-112mm equivalent lens with a maximum aperture that ranges from f2 to f2.8. This is not as impressive zoom range that you'll find on a lot of other compact cameras with slightly smaller sensors, but the very bright maximum aperture is more than enough to make this lens a lot more useful to a lot of people. On top of that the lens is also optically stabilized.

The X30 comes equipped with a hybrid AF system that consists of 49 focus points. This is also another thing that sets it apart from some other compact cameras and in theory it should perform quite well. The body of the X30 is made out of magnesium alloy which is something we weren't expecting to see on a camera in this price range and we are happy that Fuji tries to bring the quality of their more premium offerings even to the lesser priced ones. Other than having a healthy amount of manual controls it also contains a 3 inch 920,000 dot TFT-LCD screen, an EVF with a high resolution of 2,360,0 00 dots and a popup flash with a maximum range of 7 meters.

There's also a micro-HDMI port and built in Wi-Fi with support for 802.11b/g/n standards. It can record 1080p videos at 60 fps with stereo sound and you can also record even higher quality audio with the included microphone jack or mounting one on the hot shoe. Unfortunately, there is no headphone jack, but it's hard to expect it to be featured on a compact camera anyway.

Lastly, performance wise, the X30 can shoot at a burst rate of 12 fps which is very useful to have on any camera, let alone a small camera like this one. All in all, the specs sheet sounds very promising for the Fujifilm X30 and now it's time to dig a little deeper to see how well things hold up in the real world.

As we've already mention, the first thing that impresses about X30's body right from the start is it's build quality. It's build out of magnesium alloy with faux leather accents added for better grip and a little more style and it really looks like a lot more expensive camera then it really is. The healthy amount of manual controls, an EVF and a screen that can also be tilted also help to improve the overall impression and make the X30 shine with a really positive vibe. The feeling doesn't change when you hold it in your hands as it feels really well to hold.

At 423 grams, it isn't the lightest compact camera around, but the added weight makes it feel more substantial in the hand and there's nothing wrong with that. The buttons and the dials themselves are also nicely laid out and each of them fits in its place. Let's take a closer look at which manual controls you get at your disposal. Straight from the front of the camera you will find the function button and a dial to switch between main focusing modes. The top of the camera holds the popup flash unit, a hot shoe, main mode dial, exposure compensation dial, direct record button and the shutter button. Finally, on the back, you'll find switch to raise the flash from the body, Playback, View and Drive buttons, control dial for adjusting the shutter speed, AF/AE lock and Q menu button, four navigation buttons that also double as a Timer, Macro, Flash control and AF menu buttons and a Menu/OK button inside that button array. Underneath them lie the Disp button that also works as a Back button when navigating through the menus and a customizable Fn button that defaults to being a button to access the Wi-Fi menu.

The top of the camera holds the popup flash unit, a hot shoe, main mode dial, exposure compensation dial, direct record button and the shutter button. Finally, on the back, you'll find switch to raise the flash from the body, Playback, View and Drive buttons, control dial for adjusting the shutter speed, AF/AE lock and Q menu button, four navigation buttons that also double as a Timer, Macro, Flash control and AF menu buttons and a Menu/OK button inside that button array. Underneath them lie the Disp button that also works as a Back button when navigating through the menus and a customizable Fn button that defaults to being a button to access the Wi-Fi menu.

We should also mention all the added functionality you gain with the two rings that can be found on the lens of the camera. The ring on the front is a traditional zoom ring while the one on the back is a control ring which is a new addition for the X series of cameras. You can program it to do different things like allowing you to change the aperture, shutter speed, ISO or white balance, focus manually or to switch between different film simulation or AF drive modes. We really appreciate when camera manufacturers give a camera more ways to control it so more users can customize it to their liking. Having more options is never a bad thing, especially those that are generally useful and well implemented like this lens control ring is. The screen on the back of the X30 is a tilting screen of good quality and at a decent resolution of 920,000 dots, but it's not one of the main selling points of this camera. That attention belongs to the integrated 2,360,000 dots electronic viewfinde r. The one on the X20 was an optical one and wasn't implemented that well and this time it's replaced with an excellent EVF. It's sharp and

Having more options is never a bad thing, especially those that are generally useful and well implemented like this lens control ring is. The screen on the back of the X30 is a tilting screen of good quality and at a decent resolution of 920,000 dots, but it's not one of the main selling points of this camera. That attention belongs to the integrated 2,360,000 dots electronic viewfinder. The one on the X20 was an optical one and wasn't implemented that well and this time it's replaced with an excellent EVF. It's sharp and colors real pop and come to life the moment you take a look through it. It also shows all the changes in your images in real time like white balance, exposure or film simulation effects, something that can't be said for the optical viewfinders. Its refresh rate is also quick and you won't notice any lag. It's great that we've come to that point in time when we can find such components of such high quality on cameras that don't come with premium prices attached to them.

One area where the X30 shines control-wise is in its menu system which is one of the best we've found on any compact camera. It's really straightforward and easy to use no matter what previous experience you had with Fuji's cameras. Everything is in its logical places and each of the most important categories are marked with appropriate icons and different colors. The Q, or Q menu is also nicely implemented and you can have all of your most important functions pop out with just a press of the button. The navigation buttons are used to scroll between different options and the dial that's located near the thumb grip is used to change their values. It's a nicely thought out control scheme and works very well in real use. You can also

You can also customize the way that elements on the screen look like while you're in live view in addition to being able to use the standard viewing mode. Like many other today's cameras, the X30 also has built in Wi-Fi and a lot of different features that require that functionality. You will be using the Fujifilm Camera Remote App to do most of that functionality and you can install it either on your iOS or Android device. It offers you all the necessary features like being able to backup photos to your smart device or embed those photos with GPS information you have gathered on your smartphone or tablet. Like the name of the application implies, you can also remotely control the X30 and adjust a myriad of settings like shutter speed, ISO, aperture, white balance, exposure compensation and so on. You can also easily backup your photos on your PC if you wish. The X30 really covers almost all of the bases in regards to its body and the usability in general. Some people will mis s the option to have a touchscreen, but that's the only real flaw that we're able to single out in the sea of good things that could be said about this camera. Fuji

Like the name of the application implies, you can also remotely control the X30 and adjust a myriad of settings like shutter speed, ISO, aperture, white balance, exposure compensation and so on. You can also easily backup your photos on your PC if you wish. The X30 really covers almost all of the bases in regards to its body and the usability in general. Some people will miss the option to have a touchscreen, but that's the only real flaw that we're able to single out in the sea of good things that could be said about this camera. Fuji have really done a great job in this regard even when you ignore that the X30 isn't the most expensive camera around.

The Fuji X30 has a little more advanced autofocus system than ones found on most of the compact cameras. It's a hybrid AF system that consists of both contrast and phase detect focus points. The general idea with such a system is that it can predict what's happening in your image frame and decide which points to use depending on the situation, meaning it will lean towards using contrast detect points if your subject is a static one and phase detect points if it's moving. You can also manually decide which points to use with a myriad of different AF modes.

In reality it all works very well and the system never felt sluggish in any way and in almost all occasions we've ended up with photos that are in sharp focus. The performance drops a little in low light, but even than it's a pretty respectable showing. Another great thing about the X30 is that it comes with an impressive Macro mode that lets you focus as close as 1 cm at the widest angle. Focusing manually is also a pleasure with this camera because of well implemented focus peaking and the control ring on the camera's lens. The only thing that degrades the experience a little is the lack of touchscreen which would make focusing even easier and more intuitive. It's still not a problem to move your desired AF point by using the navigation buttons, but it would still be nice to be able to do it with Touch AF. Oh well, at this price point some sacrifices had to be made and the lack of touchscreen isn't the biggest one.

Photo courtesy of velodenz

The general performance of the Fuji X30 is great in every way as it performs every task with ease and without any hesitation. It's a performance worthy of even an upper-class camera. The maximum burst rate of 12 fps is also nothing to scoff at and is a really respectable number for a compact camera. It does take some time to save all those files and the buffer size isn't the largest, but it's still something useful to have to deal with moderately fast moving subjects.

In regards to battery life, which sits around 470 shots, Fuji have made some interesting design choices to make it better than most of the competition. The obvious one is a bigger than average battery cell, but the other one is the decision to make the lens only be able to zoom in or out manually, just like on a traditional interchangeable lens camera. This immediately saves some battery power and also makes the X30 feel like a more advanced camera than most compact ones because of the feel you have when manually changing the focal length. All of this leaves us with yet another area in which the X30 really shines over its competition, so far, so good.

While you wouldn't be surprised to see a compact camera at this price to offer much in terms of video capabilities you'd be pretty happy to know that the X30 doesn't disappoint in this regard. While it doesn't offer recording in 4K resolution it still does so at a respectable 1080p resolutions and at a high frame rate of 60 fps. There are also some basic slow motion modes available at frame rates raging from 80 to 250 fps, but they are of limited use since the resolution can drop from 640×480 to an even lower one. The X30 records pretty decent stereo sound, but you can always improve it by adding an external microphone. Another surprising thing is that the X30 offers full manual control in video and you can adjust everything from

The X30 records pretty decent stereo sound, but you can always improve it by adding an external microphone. Another surprising thing is that the X30 offers full manual control in video and you can adjust everything from aperture, shutter speed, ISO and so on. You can also manually focus relatively easily with focus peaking. The quality of recorded videos is good when there's enough light in your scene, but it drops to being average at best in low light scenarios. There is continuous autofocus available, but it isn't the best implementation we've ever seen and you should only rely on it in some occasions where you don't need critical focus and use manual focus rest of the time.

There is continuous autofocus available, but it isn't the best implementation we've ever seen and you should only rely on it in some occasions where you don't need critical focus and use manual focus rest of the time.

This brings us to the topic of image quality, something that we're sure most of you are interested in. Just like we suspected right from the start it indeed sits between the regular compact camera and the RX100 V. You can get some really nice looking images at lower ISO levels no matter if you're shooting in JPEG or RAW mode. There is enough detail in those photos to satisfy almost every user and we also have to mention the impressive dynamic range.

Photo courtesy of Littleland

In lower light, the quality is average and ok for such a smallish sensor. If you want to get the most out of those photos, stick to RAW mode because the noise reduction in JPEGs can be a tad too strong and smear away some fine detail. If you decide to shoot in JPEG you will be able to take advantage of numerous Film simulation modes and all of them really look quite stunning. So, while not being perfect, the image quality on the X30 is exactly what we expected and didn't disappoint us in any way.

We can safely conclude that Fuji made an excellent camera to make a push on the market of more affordable cameras and the X30 in some ways feels like it's a part of the more expensive lineup and competing with some more advanced offerings. While Fuji did cut some corners to achieve its price point like implementing a smaller sensor, deciding not to include a touchscreen or 4K video recording our impressions are still very positive and every time we used the X30 we felt like it's one well-rounded camera. Fuji really nailed some things like the body quality, the viewfinder, battery life, autofocus and general performance. Image and video quality are also good, but at this price

Fuji really nailed some things like the body quality, the viewfinder, battery life, autofocus and general performance. Image and video quality are also good, but at this price point they aren't one of this camera's major selling points. The lens on the X30 is also quite versatile and bears a very bright maximum aperture together with image stabilization and that is also another positive aspect of this camera. All in all, if you are looking for a compact camera that won't empty your wallet with one swoop breeze, but you still want something capable and able to deliver the good stuff, you should definitely consider the Fujifilm X30.

Rating: 0 based on 0 Ratings

The following two tabs change content below.

An amateur photographer, songwriter, musician, computer and technology geek and an occasional comedian, I'm a little bit of everything. I always aim to pursue things I'm passonate about and try to look on the positive side of things whenever I can. My mission is to wrap my articles in that aura of positive energy and keep a healthy balance between being serious about my work and spicing things up with a little fun now and than. After all, life's a game and there's always a different way to play it.

Most popular posts in Apr

Source: Fujifilm X30 Review: Finding Your Very Own Mirrorless Camera