Interchangeable-lens Camera Buyer's Guide

While we have more options and more technology than ever before; buying a new camera has never been more difficult. It's not just that there are dozens of cameras to choose from; it's that each one offers something different, while at the same time usually omitting a standard feature. It is confusing and dizzying, at best.

This buyer's guide is designed to steer you through this storm of indecision toward a camera that will fit your budget and needs the best. There is no perfect camera. There is no silver bullet. No matter what you buy, you're making a sacrifice. No camera will make-up for a lack of skill, knowledge or practice — that includes any camera from the one on your smartphone to a 30,000-dollar movie camera.

Before you even consider a camera, you need to know about the features and options you require. There are many questions to address. The goal is to dismiss unnecessary features and functions. This forces you to think deeply in order to recognise the values that you place on each of  your specific needs.

Before you even consider a camera, you need to know about the features and options you require. 

To start, you need to know what the final resolution of your video or film needs to be. If a 4K final product isn't needed, you might not need it as a feature. In many places, like here in the United States, we don't broadcast anything in a higher resolution than HD on TV. Fortunately, shooting in a higher resolution, like 4K, should deliver a sharper final video when producing for HD delivery. It allows you to crop in and not lose resolution. In the best cases, the added flexibility to crop, zoom or pan a shot without resolution loss will be a big deal. In other situations, it can make shooters lazy, since they know it's easier to fix problems in post.

If you're considering 4K, you should be aware that there are two flavors of 4K: UHD and DCI 4K. DCI has 256 more horizontal pixels than UHD. DCI is the cinema standard, whereas UHD is the consumer standard, and the most prolific.

Generally speaking, most cameras are priced based on their sensor size. The smaller the sensor, the more likely it's going to be affordable. This is because the sensor is one of the most expensive parts of a camera. The sensor size is important because it affects the field of view of a shot by cropping the lens' focal length. That crop is a number that you'll use to find out your effective focal length.

The effective focal length of a lens is based on the standard of 35mm photo film. A fullframe sensor is considered full-frame because it's the same size as 35mm film, and is therefore considered to have no crop factor. The field of view listed on lenses is based on that 35mm standard and will be the actual viewing angle of the lens.

Consider the different sensor sizes that you might encounter. The first is Micro Four Thirds. This is one of the smallest sensors offered on interchangeable lens cameras. Its crop factor is 2x. With that crop, a 24 millimeter lens will have an effective focal length of 48mm, meaning shooters will have a narrowed field of view and have to back the camera further away from its subject.

The next sensor size to understand is APS-C. It has a 1.6x or 1.5x crop factor depending on the manufacturer. With a 24 millimeter lens, you have an effective focal length of about 38 millimeters when factoring in the crop.

A very similar sensor size to APSC is Super 35. Super 35 has a crop factor of 1.4x to 1.5x crop, again depending on the manufacturer. A 24mm lens would have an effective focal length of 36mm using a Super 35 sensor. Super 35 is the most common sensor size in high-end digital cinema cameras and emulates Super 35 motion picture film. If you want to achieve the closest possible look to a Hollywood film, this is the sensor size for you.

Don't concern yourself too much with what each crop factor offers. Focus more on whether your work and the lenses you use are compatible with the crop factor. For example, imagine you're shooting an interview with your subject in a medium shot. You're in a small room and shooting with a Micro Four Thirds camera. If you're using a 50 millimeter lens,  you'll struggle to be able to get the shot. That's because the effective focal length of that lens is 100 millimeters when the crop is factored in. You'll have to back the camera so far up you may not be able to get everything in the shot. 

The term overcrank refers to the ability to shoot more frames per second in order to slow it down for slow motion. You should know the max framerate the camera offers if you want to achieve glass-smooth slow motion. The more frames per second it shoots, the slower the footage is when played back at more normal frame rates. Everything faster than 60 frames per second is considered good. Some cameras offer the ability to conform faster frame rates in camera. This gives you the ability to playback with in the camera in slow mo. Where other cameras need their footage to be digitally interpreted to a lower frame rate in post production, which tends to be hit or miss.

Additionally, often not all frame rates are available in every resolution. Make sure you know what your final delivery resolution needs to be. This information will let you know if you will be able to shoot in the frame rate you want.

One important feature that's not often advertised is bitrate. Bitrate is best described as the amount of data in every second of video — it determines the size of the files the camera creates. Low bitrate usually means a high amount of compression. When shooting from a fast moving object you'll get artifacting or tearing when there is lots of movement and it will look bad. Shoot with a high bitrate when you don't need it and your files will be larger than they need to be.

Bit depth is sometimes confused with bitrate, but they are not the same thing. Bit depth is expressed as 8-bit or 10-bit. It refers to the amount of color information captured. The more bit depth, the more color data it can capture.

Lens mount is also important. This is typically tied to the sensor size. The larger the sensor, the larger the glass in the lens needs to be. The lens needs to be able to cover the whole sensor with light. That's why a full-frame lens can work with an adapter on a smaller sensor, but a small sensor lens will not work on a full-frame camera regardless of the adapter, because it won't cast enough light to cover the whole sensor. If you already have a lens collection, consider lens-mount compatibility before you end up having to put your old lenses on Craigslist.

The type of of monitoring a camera has can affect your ability to see your shot good enough to get proper exposure and focus. Find out if the LCD screen has any articulation. If so, will it fit your type of shooting? If you vlog or shoot selfies, being able to see yourself while shooting is a must, so choose a monitor that flips out and rotates 180 degrees. Some monitors are highly reflective, so you might require a tilting screen to be able to suppress unwanted glare.

Outside of the monitor connected to the camera, you might need to use an external monitor. Its best to know if the camera has an HDMI output, and if so, what size it is.

If you want professional quality video, you need good audio. Look for what kinds of audio input type a camera has. Does it have XLR or eighth-inch inputs? How many audio inputs does it have?

To properly monitor your audio, an independent headphone jack is essential. Some cameras offer only a combined audio-in/headphone-out jack — similar to what's probably on your phone. This makes monitoring live audio impossible. Cameras under $1,000 tend to only offer a combined jack.

There's a wide range of weights an interchangeable lens camera can be. Smaller mirrorless cameras tend to be lightweight and don't require a heavy duty tripod. However, if your camera is heavier than five pounds, making sure your tripod and other supports can handle the weight will be key. This will allows you to operate the support as it was designed. Many different support systems will not function or will improperly function if they are over-weighted. Tripods capable of holding heavy cameras tend to come with big price tags.

The last thing you must consider is the equipment you already have. Is the equipment you already have compatable with what you are looking to buy? Don't forget all of the accessories that are required to get the best shot. Accessories like cables, lenses, tripods, batteries and media can get expensive. Don't be the person that buys a new camera but can't use it because they don't have all of the additional products you need to operate it.

Now that you know how to choose an interchangeable lens camera, here are our recommendations broken into three price ranges. It should be obvious that the more money you spend, the greater your expectations should be. If you have Spielbergian dreams but a meager budget, you'll need to change your expectations.

It is extremely hard not to get caught up pursuing every camera announced during the latest camera craze. If you're always chasing the best and latest you will never learn to make better video. The perfect camera for you is the one you can afford and know how to use. Every camera on this list can be used to tell stories in a spectacular way. Sure, a RED will probably look slightly better and you may not have to work as hard to get the image where you want it, but if you are solid in your trade and know how to tell a story, that does not matter. We are slaves to the story, not our cameras. With that said, here's our list.

Entry Level but still killing it.  < $1,000

Our sub-1,000 dollar list has some impressive contenders, all of which can yield very professional cinematic works. Not only can you use these as your A-camera if you're just starting out, but some of these have been used as solid B-cams on high-end productions.

Canon Rebel T7i - $750

The Canon Rebel line has been a staple of the entry-level interchangeable-lens camera movement and remains popular today. The body will cost you about $750 and for that you get a decent HD camera with some professional functionality on an APS-C sensor. While Canon has made some modest improvements from model to model, this camera's specs seem a bit antiquated when compared to the other three on our entry level list.

Panasonic G7 - $797

Priced at about $797 for a body, G7 gives you a UHD 4K camera with 12 stops dynamic range that records 100 megabits per second and overcranks up to 60 frames per second. The image is great and it has pro features such as focus peaking and zebra strips that even more expensive cameras don't have. The downside? It's a Micro Four Thirds sensor, so the crop factor is 2x and it doesn't have a headphone jack.

Blackmagic Pocket Camera - $995

The Pocket Camera is a MFT camera that shoots a beautiful image in RAW, that can easily be mistaken for 16 millimeter film. It's hard to overstate how great the quality of the image is on this guy. For about 995 dollars, you get an HD camera that shoots RAW or ProRes with 13 stops dynamic range. It is absurd. Feature films use this camera when they need something small or disposable — it was used extensively on the last season of Mythbusters.

As I am sure you're anticipating there is a "but" coming up. The Blackmagic Pocket Camera is amazing, but it is a MFT mount with a sensor that crops by 2.88x. Plus, the batteries drain in about thirty minutes (if you're lucky). It also maxes out at 30 fps and the touch screen in the rear is a pain in the butt. As far as quality goes, you won't beat it for the money, if you can deal with the cropping and short battery life. It should be noted that the cropping can be cut down to about 1.5x with a Metabones Speed Booster.

Sony a6300 - $999

This camera is sick. For about the same price as the Blackmagic Pocket Camera, you get a 4K UHD camera that records 11 stops at 100 megabits per second on an APS-C sensor with the ability to record in S-log2 and S-log3, which are picture profiles made for video shooters who love to tweak color in post. Oh, and you can overcrank up to 120 frames per second in HD.

The a6300 is also a fantastic B-camera if you already have a Sony FS7, FS5 or any Alpha series camera such as an a7S II. The image is spectacular and the camera is easy to use. One thing you do sacrifice for the price is buttons. The a6300 has a lot fewer physical buttons than its big brothers. Also, the battery is known to only last an hour when shooting video and the camera is prone to overheating.

Professional but economical $1,000 - $4,000

The camera list for this section is pretty lengthy, yet we didn't even cover a quarter of what was available. Every month, it seems some company is releasing a new camera. The cameras on this list were chosen in part due to their quality and features and well as notable mentions for quality brands that are often overlooked.

Fujifilm T2 - $1600

The first camera on our list is a brand that is indeed often overlooked for filmmakers. Fujifilm caught a lot of attention with their new Fujifilm T2 mirrorless 4K camera. At just $1,600, this is a great camera with a beautiful picture. It takes the Fuji X mount. The APS-S sensor can record up about 12 stops dynamic range at 100 megabits per second. Unfortunately, the frame rate maxes out at 30 frames per second in UHD and 60 frames per second in HD. You could do a lot worse than the Fujifilm T2. 

Olympus Om-D E-M1 - $2000

The Olympus Om-D E-M1 is the first 4K camera under the Olympus name and it deserves a close look. Yes, it is Micro Four Thirds with a 2x crop, which is very uncool, but it records full DCI 4K at 237 megabits per second with image stabilization on the sensor — very cool. Priced at just under $2,000, it's a real bargain.

JVC GY-LS300 - $2,500

This is one of only two cameras in this section that were designed as video cameras first. If you are an event photographer, news producer or documentarian this is a camera you should consider. While it doesn't produce a very cinematic image, the Super 35 sensor gives you that beautiful shallow depth of field, though the Micro Four Thirds lens mount can make it difficult to find a lot of lenses to cover that large sensor without adapters. For only about $2,500, you get UHD at 150 megabits per second in h.264 or, impressively, you can record HD in 4:2:2 internally. This is a camera that has all the standard video camera features many have learned to live without, such real XLR inputs and SD HD outputs. If you are shooting a documentary this is a great camera to use.

Canon 5D Mark IV - $3,500

No sub-4,000 dollar camera list would be complete without mentioning the newest version of the camera that started it all. The Canon 5D series has been a staple in the filmmaking world since the very beginning. While Canon has been reluctant to add new video features to this series, they remain a strong contender.

Very few cameras reproduce colors quite as pleasingly as a Canon camera. The Canon 5D Mark IV will run you a whopping $3,500, which is admittedly a lot for what you get when compared to the next two cameras on this list. The 5D Mark IV has a full frame sensor that produces one of the best images in its class and can impressively record DCI 4K at 500 megabits per second. Unfortunately ( and this is a biggie for many users), when recording 4K, the sensor crops 1.64x. This is seriously uncool, not to mention the Canon is still missing focus peaking and punch in focus while recording. Plus, some kind of log format would be great. Still though, there are 5D die hards out there, and they aren't wrong. It's got a beautiful image and is a world-class stills camera.

Sony a7S II - $2,700

The next two cameras come in at essentially a draw. Both are amazing and both are priced well for what they offer, but each is its own unique beast. First up, the Sony a7S II, the glorious 4K follow up to the legendary a7S. This camera rocks. For about $2,700, you get a full frame UHD camera with 12 stops of dynamic range that can record in S-log2 and S-log3. Oh, and you can overcrank up to 120 frames per second, though when doing so, there's a 2.2x crop. The image out of this animal is spectacular, and this is all without mentioning its most impressive trick. The a7S II can basically see in the dark. No camera at any price point comes close to the low light performance of the a7S II. None. It uses Sony E mount but can be adapted to take almost any lens. With a price tag under $4,000, you cannot go wrong with this camera.

Panasonic Lumix GH5 - $2,000

Tied with the Sony a7S II is Panasonic's follow up to the equally legendary GH4, the Lumix GH5. It's currently priced just shy of $2,000, and for that you get DCI 4K at 10-bit 4:2:2, 150 megabits per second at 12 stops of dynamic range. For just 100 dollars more you can add V-log, Panasonic's log format. You want high speed? The GH5 can record up to 180 frames per second in HD. Pus, this bad boy is the only one in its class to be able able to record anamorphic 4K.

There's a reason the GH5 isn't the obvious choice for number one: Panasonic is sticking with Micro Four Thirds, this means you have a 2x crop. This isn't the end of the world however — when accompanied with a Metabones Speed Booster, much of this crop can be diminished. Whether you choose the Sony a7S II or the Panasonic GH5 you'll have the ability to record breathtaking images that are as cinematic as cameras priced much much higher.

The Big guns. Kind of… $4,000 - $13,000

Almost all the cameras in this section were designed to be cinematic video cameras first. All but one have your basic video features such as proper audio and video inputs and outputs, focus peaking, zebra stripes and other helpful shot assist tools.

AJA CION - $5,000

This is a camera designed to be similar in form and function to an ARRI Alexa, but for a fraction of the price. While the image from the APS-C sensor is terrific, it is no Alexa. This camera only ships in PL mount, which means you're stuck buying more expensive cinema lenses as opposed to more affordable photo glass. The CION records DCI 4K with 12 stops of dynamic range in ProRes. A serious plus to this camera is the ability to record 120 frame per second in UHD. The big problems with this beast is that it is not ergonomic; the thing is bulky and can be unwieldy.

Blackmagic URSA Mini 4.6K - $5,000

The Blackmagic URSA Mini 4.6K has a price just like the CION. The image quality is basically indistinguishable between the two, except that with the Blackmagic, you can record RAW in-camera whereas to get RAW from the CION you need an external recorder. These two cameras are in many ways comparable to each other, but the big feature the Cion has over the URSA is the ability to record 120 frames per second.

Sony FS7 - $8,500

This Super 35 sensor camera records DCI 4K at 600 megabits per second in XAVC-1 and can output Raw to an external recorder. You can shoot up to 60 frames per second in 4K and up to 180 frames per second in HD. This camera has all the professional features you would want, including a plethora of physical controls and a built-in ND filter. It is also by far the most ergonomic camera on this entire buyer's guide. You can not beat this camera for handheld work. While you can record in glorious S-log 3, the image out of this camera isn't the best in the category. It's great, but is slightly edged out by our next two cameras. That said, this point cannot be overstated--the FS7 is a serious camera that is widely used on big budget serious productions. The versatility of this camera makes it a great choice no matter the production.

Canon's 1DX mark II - $6000

In this category, the 1D X MKII is the only stills camera on the list. It's not cheap, it's an expensive DSLR costing $6,000, but the image is worth it. The 1DX Mark II's full frame sensor pumps out DCI 4K at 800 megabits per second. The 1DX Mark II has impeccable image quality. A huge plus is that it has a standard Canon EF mount, making finding great glass easy and affordable. With it's dual pixel CMOS AF system focus pulling and tracking is insanely good and easy.  A huge downside however is a 1.6x crop in 4K. If you are shooting an independant film and don't want to mess with RAW, the Canon 1DX Mark II is a wise choice.

RED Raven - $12,600

The Raven brain alone is priced at only $6,950, but to be able to shoot anything you will need tons of proprietary RED hardware to get going. The base package needed comes in at $5,643, putting this camera (without lenses) at about $12,600. That is a whopping $4,100 more than the next most expensive camera in this category. RED is famous for its impressive cinematic image and this camera does not disappoint. At 16.5 stops the Raven has far more dynamic range than anything on this list with a codec that is also superior to its competition. You can record up to 120 frames per second in DCI 4K, 150 in 3K and a whopping 240 in 2K!  This camera is right at home on large productions but its form factor doesn't make it a great choice for run and gun or single shooter situations. The Raven is an incredible camera, even for the money, but is it a better choice than the 1DX MKII or the Sony FS7? This is a personal question. There is no doubt that you can get high end professional results with any of the three. What you have to ask yourself is, "What kind of shooting will I be doing?" If this camera lives on set, with a  crew and you have a large budget, then the Raven is the obvious choice. On the other hand, if you are running and gunning or work in small teams — or just don't have a crazy sum of money to spend — then perhaps the Canon or the Sony would be a better choice.

Final Thoughts.

It is extremely hard not to get caught up in the latest camera craze. Much like J Thaddeus Toad, I have been overcome by the mania, consumed by the thought of the latest technology on the newest camera, but like Mr. Toad this story never ends in satisfaction. If you are always chasing the best and latest you will never learn to make better films. The perfect camera for you is the one you can afford. Every camera on this list can be used to tell stories in a spectacular fashion. Sure a Red will probably look slightly better and you may not have to work as hard to the the image where you want it but if you are solid in your trade and know how to tell a story that does not matter. We are slaves to the story not our cameras.

Manufacturer List

AJA Video Systemswww.aja.com

ARRIwww.arri.com

Blackmagic Designwww.blackmagicdesign.com

Canonwww.canon.com

Fujiwww.fujifilmusa.com

JVCwww.jvc.com

Leicawww.leica-camera.com

Nikonwww.nikonusa.com

Olympuswww.olympusamerica.com

Panasonicwww.shop.panasonic.com

REDwww.red.com

Samsungwww.samsung.com

Sigmawww.sigmaphoto.com

Sonywww.sony.com

Jason Miller is a Senior Marketing Producer, editor and visual effects artist whose work has been seen in feature films and national marketing campaigns.

Source: Interchangeable-lens Camera Buyer's Guide

How To Buy a Digital Camera

Choosing a digital camera can be quite confusing, but after having a read of this guide, you should be in a much better position to choose the right camera for you. Digital cameras give a lot of advantages compared to film, you can preview your shots and most digital cameras will have a setting which allows you to basically point the camera at the scene you want to photograph and take the picture. You can work quicker with a digital camera but this could mean you constantly click the shutter button instead of taking your time and focusing on what you really want to capture.

Both film and digital cameras come in a variety of formats. Popular types are compact, bridge, mirrorless and DSLR . 

Compact Cameras

Compacts are basic cameras which allow the user to simply point at a subject and take a photograph. Compacts are generally designed to be easy to use, smaller and fairly inexpensive. They're great for the beginner who wants to learn how to frame, capture an image first before taking control of how the image is created. They're good for basic holiday or friends/family snaps and are a popular choice with teenagers who just want to be able to click a button and take a quick picture with very little fuss. If you're planning on using a compact camera in low light conditions, for fast moving events such as races or for other work that the 'happy snapper' wouldn't be taking, you may want to consider buying a camera that gives you more control. Increasingly serious compact cameras have been introduced often giving manual controls and flash hot-shoes, see the Panasonic Lumix LX5, Nikon Coolpix P300, Canon Powershot S95, and Olympus XZ-1 to name just a few. Have a look at our Compact Camera reviews.

Bridge Camera

A bridge camera looks like a DSLR but has similarities to a compact. As compacts do, bridge cameras have a lens that can't be removed but they do give you more control over features than a compact camera does. Bridge cameras are good for people who want more control than a compact can give them but don't want a camera quite as complex as a DSLR. They tend to feature full manual controls, a long zoom, and a solid grip like a DSLR.

Mirrorless or Compact System Camera

A relatively new type of camera, introduced by Olympus and Panasonic as the "Micro Four Thirds" system, then followed by Samsung's "NX" series, and Sony's "NEX" series, these cameras offer larger sensors than compact and bridge cameras, and also offer the ability to change lenses, whilst being much smaller than Digital SLR cameras. As the Micro Four Thirds system has been around the longest, it gives the greatest choice of camera bodies and lenses, from the tiny Panasonic Lumix GF3, the SLR styled Panasonic Lumix GH2, and the popular PEN series including the Olympus PEN EPL2. Samsungs offerings include the Samsung NX10 (classic SLR style) and NX100 compact style. Sony offers the ultra compact bodies such as the NEX-3, 5, and C3, but as they use DSLR sized sensors, the lenses are the same large size as DSLR cameras. Have a look at our Mirrorless / Compact System Camera reviews.

DSLR (Digital Single Lens Reflex)

If you're not looking to simply point & shoot and you want even more control than a bridge camera can give you then you need a DSLR.

DSLR lenses can be changed to help you take the best image possible. For example, if you're taking an image of a Lion but you don't want to disturb it or better yet, get close enough so you turn into its dinner, instead of using a standard lens you may want to opt for a long/telephoto one. This lens will make the Lion appear closer without you having to get so near to it.

A DSLR will also let you take complete control of your camera, changing the settings of the camera to help take that perfect picture. This could be taking control of the shutter speed to capture that fast moving car, changing the ISO to shoot at a rock concert or adjusting the exposure so your snow covered scene doesn't appear dull and grey. Have a look at our Digital SLR Reviews.

As well as the above, there's also medium format (see the Pentax 645D), rangefin der (see the Leica M9), large format, pinhole and plate cameras which are considered more specialist and not in the realms of this beginners guide.

This article has been adapted and updated from the ePHOTOzine Photography Academy series, if you want to have a look at some more of the articles, please follow the links below.

Source: How To Buy a Digital Camera

The 10 best digital cameras in the UAE for 2017

Okay, we admit it – it's an impossible question. The best camera for a pro photographer is a million miles from the best camera for an adventure sports nut. So what we've done is pick out what we think are the standout cameras in their fields. This may be because they have the most amazing features and specifications, because they're amazing value for what they offer or because they are just brilliant at the job they've been designed for.

Along the way we'll explain some of the jargon and the differences between cameras, though if you need a bit more help deciding what kind of camera you need, you can get a lot more information from our special step-by-step guide: What camera should I buy?

On the other hand, you may already have a clear idea of the kind of camera you want, in which case you could go straight to one of our more specific camera buying guides:

Last year we saw some stunning cameras launched - many of them making it onto our list below, but if you want to know what else might be coming along later this year, take a look at our in-depth Camera Rumors 2017 article.

But if you just want to know what we think are the top ten standout cameras you can buy right now – regardless of user level or price point – then keep on reading.

All these are cameras have been extensively tried and tested by ourselves, so if you want to know any more about any of them as well as check out sample images, just click the link to the full review.

1. Nikon D850

High resolution meets high speed

Type: DSLR | Sensor size: Full-frame CMOS | Resolution: 45.4MP | Lens: Nikon F mount | Viewfinder: Optical | Screen type: 3.2-inch tilting touchscreen, 2,359,000 dots | Maximum continuous shooting speed: 7fps | Movies: 4K | User level: Intermediate/expert

Stunning image quality

Excellent performance

Slow Live View AF speed

SnapBridge connectivity

It may be expensive, but if you're looking for the best camera money can buy right now, then Nikon's fabulous D850 DSLR pretty much ticks every box. Packing in a brilliant 45.4MP full-frame sensor, image quality is stunning. But that's just half the story. Thanks to a sophisticated 153-point AF system and 9fps burst shooting speed, the D850 is just a home shooting action and wildlife as it is landscapes and portraits. The Nikon D850 is perhaps the most well-rounded camera we've ever tested.

Read our in-depth Nikon D850 review

2. Fujifilm X-T2

A stunning camera perfect for enthusiast photographers

Type: Mirrorless | Sensor size: APS-C CMOS | Resolution: 24.3MP | Lens: Fujifilm X mount | Viewfinder: EVF | Screen type: 3.0-inch tilting screen, 1,040,000 dots | Maximum continuous shooting speed: 8fps | Movies: 4K | User level: Intermediate/expert

Polished handling

Fast autofocus

No touchscreen

Not much else

The update to the X-T1 may look similar at first glance, but there have been some huge improvements made to Fujifilm's follow-up flagship mirrorless camera. Perhaps the biggest update though is the autofocus. A huge leap forward compared with the system found in the X-T1, AF tracking of moving subjects is very snappy, while the level of sophistication and customisation is impressive. Add in 8 frames per second burst shooting, a clever double-hinged rear display, bright EVF, Fujifilm's excellent 24.3MP X Trans III CMOS sensor and plenty of body mounted controls and you're left with one of the best cameras available today.

Read our in-depth Fujifilm X-T2 review

3. Sony Alpha A9

Taking the fight to Canon and Nikon

Type: Mirrorless | Sensor size: Full-frame CMOS | Resolution: 24.2MP | Lens: Sony E mount | Viewfinder: EVF | Screen type: 3.0-inch tilting touchscreen, 1440,000 dots | Maximum continuous shooting speed: 20fps | Movies: 4K | User level: Expert

Blistering performance

Incredibly fast AF

Limited touchscreen controls

No XQD card slots

Once, if you wanted a professional quality full frame camera it had to be a Nikon or Canon DSLR. Sony's growing range of mirrorless full-frame cameras offer a great alternative and the Alpha A9 sits at the top of the range. The AF system Sony has blessed this camera with is not only incredibly quick, the tracking performance needs to be seen to be believed. Partner that with incredibly fast 20fps burst shooting, and a large and bright EVF that doesn't blackout when you're shooting, and you've got a camera that can mix it with the best that Canon and Nikon have to offer when it comes to shooting action. The Alpha A9 doesn't fail to impress.

Read our in-depth Sony Alpha A9 review

4. Nikon D3400

Not the most expensive entry-level DSLR, but we think it's the best

Type: DSLR | Sensor: APS-C CMOS | Resolution: 24.2MP | Lens: Nikon F mount (DX) | Viewfinder: Optical | Screen type: 3.0-inch screen, 921,000 dots | Maximum continuous shooting speed: 5fps | Movies: 1080p | User level: Beginner

Good image quality

Guide mode

Fixed screen

No touchscreen

Nikon's D3400 builds on the brilliant D3300 and is our top pick when it comes to entry-level DSLRs. Sharing pretty much the same design and specification as its predecessor, the D3400 adds Nikon's SnapBridge bluetooth connectivity to transfer images directly to your smart device to make it that much easier to share images. The 24.2MP sensor resolves bags of detail, while the D3400 is also a very easy camera to live with. Its clever Guide Mode is a useful learning tool that gives real-time explanations of important features. There's no touchscreen, but otherwise, this is our favorite entry-level DSLR right now.

Read our in-depth Nikon D3400 review

5. Fujifilm X100F

Classic design and controls make it the perfect enthusiast compact

Type: High-end compact | Sensor: APS-C CMOS | Resolution: 24.3MP | Lens: 23mm f/2 | Screen type: 3-inch, 1,040,000 dots | Viewfinder: Hybrid | Maximum continuous shooting speed: 8fps | Movies: 1080p | User level: Expert

Hybrid viewfinder

Excellent image quality

ISO dial not that practical

1080p video only

The X100F is a thing of beauty both to look and and to use, but it's not for everyone. It's a relatively large, retro-styled compact camera with a fixed focal length 35mm equivalent f/2.0 lens, and designed for photographers who hanker after the weighty feel and manual external controls of traditional 35mm film rangefinder cameras. It's a relatively specialised camera and most owners are likely to have other cameras too. It may be a touch pricey, but there's nothing quite like it – it's an exquisite camera to look at and to shoot with.

Read our in-depth Fujifilm X100F review

6. Olympus OM-D E-M10 Mark II

Top-notch performance in a super-small package

Type: Mirrorless | Sensor size: MFT Live MOS | Resolution: 16.1MP | Lens: Micro Four Thirds | Screen type: 3.0-inch tilting touchscreen, 1,370,000 dots | Viewfinder: EVF | Maximum continuous shooting rate: 8.5fps | Movies: 1080p | User level: Beginner/enthusiast

Compact proportions

5-axis stabilisation

Smaller sensor than some

Battery life could be better

We loved the original E-M10 for its size, versatility and value for money, but the E-M10 II adds features that take it to another level. The old camera's 3-axis image stabilization system has been uprated to the 5-axis system in Olympus's more advanced OM-D cameras, the viewfinder resolution has been practically doubled and the continuous shooting speed, already impressive at 8fps, creeps up to 8.5fps. Some will criticise the smaller Micro Four Thirds sensor format (roughly half the area of APS-C) but the effect on image quality is minor and it means that the lenses are as compact and lightweight as the camera itself. It's small, but it's no toy – the E-M10 II is a properly powerful camera.

Read our in-depth Olympus OM-D E-M10 Mark II review

7. Panasonic Lumix TZ100

The perfect travel camera - small, versatile and with a decent zoom

Type: Travel compact | Sensor: 1-inch type CMOS | Resolution: 20.1MP | Lens: 25-250mm, f/2.8-5.9 | Viewfinder: EVF | Screen type: 3.0-inch, 1,040,000 dots | Maximum continuous shooting speed: 10fps | Movies: 4K | User level: Beginner/enthusiast

1-inch type sensor

4K movies

Limited 10x zoom

Touchscreen would be nice

Similar in size to earlier TZ-series cameras, Panasonic however has managed to squeeze a much larger sensor into the TZ100. This enables the pixels to be about 2.4x bigger than they are in models like the TZ90, and this helps the TZ100 produce much higher quality images. The zoom lens isn't quite so extensive though, but you still get an electronic viewfinder that makes it easier to compose images in bright sunny conditions and in addition to 4K video recording, there's Panasonic's 4K Photo mode to help capture 8MP images of fleeting moments. It all adds up to be a powerful compact camera.

Read our in-depth Panasonic Lumix TZ100 review

8. Canon EOS 800D

Canon's best entry-level DSLR yet offers power and performance

Type: DSLR | Sensor: APS-C CMOS | Resolution: 24.2MP | Lens: Canon EF-S | Viewfinder: Optical | Monitor: 3.0-inch vari-angle touchscreen, 1,040,000 dots | Maximum continuous shooting speed: 6fps | Movies: 1080p | User level: Beginner

Polished handling

Vari-angle touchscreen

Only 95% viewfinder coverage

Plastic finish

One of the best entry-level DSLRs out there, the EOS 800D is an update to the 750D. The resolution stays the same, but it's a new design with an improved high ISO performance. The autofocus also gets a boost over the older model, now with a 45-point arrangement that's backed up by excellent live view AF system that's as quick as mirrorless rivals, while the newly designed graphical interface will certainly make this camera even more appealing to new users. The absence of 4K video and the quality of the exterior materials disappoint, but despite this the EOS 800D is a great entry into the world of DSLR photography.

Read our in-depth Canon EOS 800D review

9. Panasonic Lumix FZ2000

The bridge camera for the photographer who wants quality too

Type: Bridge camera | Sensor: 1.0-inch type CMOS | Resolution: 20.1MP | Lens: 24-480mm, f/2.8-4.5 | Screen type: 3-inch vari-angle screen, 1,040,000 dots | Viewfinder: EVF | Maximum continuous shooting speed: 12fps | Movies: 4K | User level: Intermediate/expert

Large 1-inch sensor

Super-fast AF

Big, heavy and not cheap

No weather-sealing

Our final camera is a 'bridge' camera, a type of camera that we don't normally like very much because the ultra-zoom design forces the makers to use titchy 1/2.3-inch sensors the same size as those in point-and-shoot cameras. You get the look and feel of a DSLR, but you certainly don't get the image quality. But the Panasonic Lumix FZ2000 is different. It sacrifices a huge zoom range in favour of a much larger 1.0-inch sensor - a compromise most serious photographers will applaud. While the zoom tops out at 480mm equivalent, which is relatively short for a bridge camera, that's still plenty for all but the most extreme everyday use. We'd certainly sacrifice a little for of zoom range for better and faster optics. We love the FZ2000 because it delivers both image quality and zoom range, while also offering full manual and semi-manual controls, the ability to shoot raw files and 4K video.

Read our in-depth Panasonic Lumix FZ2000 review

10. GoPro Hero5 Black

Still the king of action cameras

Type: Action camera | Sensor: 1/2.3-inch type CMOS | Resolution: 12MP | Lens: wide-angle f/2.8 lens | Screen type: 2-inch touchscreen | Viewfinder: N/A | Maximum continuous shooting speed: 30fps | Movies: 4K | User level: Beginner/intermediate

Refined design

Great image quality

Touchscreen fiddly to use

Waterproof

GoPro really had to step up its game if it wanted to remain at the top of the action cam pile, and the Hero5 Black is a great reminder of why the name is so revered. Simple to use, the addition of a rear touchscreen, voice control and GPS make it one of the most feature-packed action cams currently available. Video footage is now smoother than ever too, while the ability to shoot stills in raw, and the Wide Dynamic Range feature, make the Hero5 Black more versatile than ever. Factor in the updated app with QuikStories that automatically transfers and edits your footage for you, and you're on to a winner.

Read our in-depth GoPro Hero5 Black review

Source: The 10 best digital cameras in the UAE for 2017

iPhone 8 Plus vs. Galaxy Note 8: Camera Battle

Apple's new iPhone 8 series just hit the streets and the company says it has the best cameras ever on a phone (at least until the iPhone X comes out). Samsung fans may take offense, as the company claims its S8 and Note 8 cameras are, in fact, the best. Is one better than the other? Should you switch operating systems to get better images out of your constant companion? Is it worth it to get one of the bigger, pricier, dual-lens models? We ran extensive tests to help you decide.

iPhone 8: New Sensors?

Apple states that the iPhone 8 Plus uses sensors that are physically larger than its predecessor. This may be true, but it doesn't show in the EXIF data. The main camera is a 28mm equivalent lens, with an actual focal length of 3.99mm and a fixed f/1.8 aperture.

I took a look at the x-ray photos that iFixit made of the main sensor module in the iPhone 7 and iPhone 8. They're different magnifications, so a direct comparison isn't possible without some resizing. I resized the two images to match as closely as possible in Photoshop, using the outline of the chassis as a guideline, and then overlaid the sensor modules over one another as best as possible. A back-and-forth viewing shows that, if there's a difference in size, it's extremely minor.

According to the EXIF data, the iPhone 8's main camera is still a 3.99mm f/1.8, the same as you get in the iPhone 7, and Apple's marketing information tells us that it's a six-element design, also the same as on the 7. Put the same lens on and get the same field of view and it's clear, the active imaging area is also the same.

That's also true with the 2x lens. It's a 6mm f/2.8. You'll notice that the math doesn't work out there for it to be a 2x. That's because the secondary sensor is smaller than the primary. The main lens uses a chip that's a 1/3-inch class (the same size Apple has used since the 5s) and the 2x sensor is a 1/3.6-inch design.

Samsung uses a 4.3mm f/1.7 lens for its wide-angle camera on the S8 and Note 8. The focal length is wider, but because the camera's main sensor is a larger 1/2.55-inch design, the field of view is wider, roughly 24mm in full-frame terms. Its second lens seems to be a little tighter than simply digitally zooming the main lens into its 2x position. That makes me think it's closer to 52mm in focal length, which would make its sensor a 1/3.6-inch design, the same as Apple's secondary imager. The lens itself is a 6mm f/2.4 optic.

Yes, Samsung's main camera has a wider aperture. But the difference between f/1.8 and f/1.7 is entirely academic. The difference in f-stops between the 2x lenses isn't negligible, but it's close. The one-third-stop difference means you'll capture the exposure at the same ISO at 1/30-second with the iPhone and 1/40-second with the Note 8. The real advantage the Note 8 holds is that its secondary lens is optically stabilized, while the 8 Plus is not—you'll need to step up to the forthcoming iPhone X to get dual stabilized lenses.

Lab Tests

We run a standard array of lab tests on every camera we test, from compacts all the way up to medium format models. There's a test chart to evaluate image noise, and also take a look at how noise reduction effects detail, as well as a standard contrast-based resolution chart to see how crisp a lens is.

Smartphone cameras are a bit different than SLRs, not only because of the tiny lenses and sensors, but also because a lot of the voodoo that goes into their ability to make a photo is based on software. Plus, because you'll (likely) be posting your latest snapshot to Instagram, Facebook, Snapchat, or the like, image filters are liberally available and applied to photos to give them different looks.

So take lab tests for what they are: a pure as we can manage look at the camera's default output. They're not the be-all, end-all aggregator of what is good and what is bad, especially when you consider that your phone's camera app is simply the first step in a long journey that your images will travel on before they're seen by friends, family, and followers.

We chose to compare the iPhone 8 Plus with the Galaxy Note 8 for a couple of reasons. One, each handset shares a lot of tech with its smaller sibling. Two, they've each got a dual-camera configuration, so they can do thing like capture images with a blurred background and also shoot photos with standard-angle field of view.

If you're a fan of small phones, and are trying to make the decision between an iPhone 8 or Galaxy S8, you can just ignore the test images and data from the 2x camera and look at what the single-lens model can do.

Noise

To test the iPhone we used the ProCam 5 app, a $5 download that supports full manual shutter and ISO control, as well as Raw image capture. It's also the only way you can be certain you're using the 2x lens when you want to—the standard camera app switches to a digitally zoomed view of the wide lens in dim light.

Apple has put Raw support into recent phones, but doesn't support it with its own software. The Note 8 shoots in Raw if you use the Pro mode in its standard camera app, but you can't use the 2x lens—it only works in Auto mode. And, like the iPhone, if you're using its app in auto mode you'll end up with a digitally zoomed shot at 2x in dim light.

The iPhone 8 has a base ISO setting of 20. When shooting in Pro mode, the lowest you can set the Note 8 is ISO 50. There is very little (if any) difference between ISO 20 and ISO 50 on the iPhone, so we'll start our comparison shots at ISO 50. Both settings are going to be used in bright, outdoor light.

The Note 8 shows a bit more contrast and color saturation than the iPhone 8 when shooting JPGs. A look at the Raw files shows that the Note's larger main sensor is capturing just a little more fine detail, visible in the foliage underneath the silo. In the real world, it's an essentially negligible difference. The extra sharpening delivered by the Samsung JPG engine delivers a slightly higher sharpness score (3,025 lines) than the iPhone's main camera (2,851 lines). But when you consider that both are outputting 12MP files that are destined for social networks, the difference is academic.

At ISO 100, the difference between the iPhone 8 and Note 8 main cameras is negligible. Raw images are very close as well, with the iPhone showing a little bit more contrast when processed in Lightroom CC with default settings applied.

The iPhone 8's JPG output shows a slight bit more detail at ISO 200 when compared with the Note 8. Lightroom does a bit better job removing color noise from the Note 8's DNG output, but otherwise the output is very close.

At ISO 400 the output remains close between the two phones. The Note shows a slight edge in detail, and slightly lower noise (1.1 percent) versus the iPhone's main camera (1.2 percent). Again, the iPhone shows more color noise in its DNG output, but we expect Adobe to improve its processing engine to eliminate it in the future. Aside from the false color, Raw image quality is neck and neck.

ISO 800 is the top manual setting supported by the Note 8's camera app. Its JPG output shows a little bit more detail than the iPhone's main camera, but both are quite blurred. Lightroom removes color noise from the Note's Raw output effectively, and while it's grainy it preserves detail not seen in the JPG. Color noise in the iPhone output wipes away a good amount of detail. We'll have to wait and see how much Adobe can improve its processing when it adds a custom profile for the new phone to Lightroom.

The iPhone can be set manually to ISO 1600 and 2000. (The ProCamera app lists the latter as ISO 2112, but the EXIF data says 2000. Someone on one of the development teams is a Rush fan.) You can't expect decent results from a tiny sensor at such a high ISO.

Samsung doesn't give you any ability to use the 2x camera when shooting in Pro mode, which means you can't shoot Raw using the 2x lens. Zooming applies digital zoom, which is an absolute head-scratcher. It also utilizes digital zoom in the automatic mode if light is low enough to push the 2x camera beyond ISO 200. Apple does the same thing in its standard camera app, although it has a higher threshold, switching to the primary camera at ISO 800. This was also the case with the iPhone 7 Plus.

At ISO 50 the Note 8's 2x lens has a noticeable edge in resolution when compared with the iPhone 8 Plus. I see some evidence of aggressive sharpening, but it's not egregious. Crisper results translate into a higher Imatest sharpness score as well, 3,655 lines for the Note versus 2,518 lines for the iPhone.

Image output is a lot closer around ISO 100. The Note 8 shows a little more detail, while the iPhone outputs a slightly darker image with more contrast. The Note still has an edge, but it's not a big one.

The iPhone output takes a hit at ISO 200. The Note 8 does a little bit better, with more fine detail visible, but again, you'll need to look at photos on a pixel level to really spot the difference.

The Note 8's 2x camera drops out of the race at ISO 400. We see increased noise with the iPhone 8 Plus here, further blurring output, but it's still better than what you'd get with a digital zoom applied to an ISO 200 image from the 28mm lens—remember that the secondary lens doesn't gather as much light as the primary.

You'll need to use a third-party app to shoot with the 2x lens at ISO 800 on the iPhone. Detail is wiped away, although with some enhancements to its Raw processing for the phone, I'd expect that you can get slightly better results from processing the DNG.

The story is about the same at ISO 1250, the top setting which the iPhone's 2x lens can be used. Fine detail is blurred, so expect textures to be waxy when shooting JPGs. Color noise is a big issue with the current Raw conversion.

We ran the same batch of tests last year using the iPhone 7 Plus, iPhone 6s, and Galaxy S7. We weren't using a manual camera app for the 7 Plus at that time, but it does look like there's some slight improvement in high ISO image quality with the new iPhone 8 model. How much of this is hardware and how much is image processing is in question. Apple's marketing will have you believe that it's night and day; it's not. If you own a 7, or even a 6s, the improvements in still imaging performance are marginal. The iPhone 8 is a huge step forward if you're still using an iPhone 6, and if you opt for the Plus model, the dual camera is a benefit over any single-lens phone.

The Note 8 and S8's main camera is a bigger upgrade over the imager found in the Galaxy S7. At lower settings we see photos that aren't so aggressively over-sharpened, and at higher ISOs we see less noise reduction applied to JPGs. It's a win-win for Samsung on that front.

The iPhone 8 and 8 Plus can save images in two formats—HEIC or JPG. We shot everything using HEIC, but the phone converts those images to JPG when transferring via AirDrop, Dropbox, or email. Since HEIC isn't supported on the desktop tools we use for image analysis, we looked at the JPG conversions. HEIC's big advantage is more efficient, effective image compression. I also looked at test images on the iPhone's screen and compared them with what I was seeing on my desktop workstation; I was unable to discern the difference.

In the Real World

Lab tests are great if you like looking at test images and numbers. They're useful to tell you how something works, and what it's strengths and weaknesses are, and in extreme situations, a little bit of extra performance can help you get an image that you might not otherwise.

In bright light, you shouldn't expect to see much difference between the iPhone 8, Galaxy S8, or Note 8. But while the Note 8 ended up showing a bit more detail at higher ISOs in our lab tests, I was disappointed to see how it handled shooting a typical scene on a city street at night. The iPhone's main camera (left) does a better job pulling in highlights in bright signage, and while the streetlights are blown out, they don't show the same type of flare as you get with the Note 8's main camera. Both were shot with automatic exposure. Samsung has a general tendency to overexpose a scene by a little bit, which gives images a brighter feel by default.

We see the same type of flare from the Note in another side-by-side test shot, below. Again, the iPhone is on the left and the Note on the right. Also we should remember how bright the main lenses are; the iPhone is using ISO 100 for both shots, while the Samsung uses ISO 400 for the first and ISO 200 for the second. If you're the type of phone photographer who uses manual settings, you can work to ensure that the nighttime street shots aren't as bright by adjusting the exposure manually, though we expect that the vast majority of smartphone photographers to rely on automatic exposure.

Both camera apps let you adjust exposure without having to delve into manual settings. Tap to focus on the iPhone and there's an exposure slider to the right of the focus box. Do the same on the Note and it's at the bottom of your frame. You'll want to learn to use them to dial in brightness to get the most out of your smartphone camera. You can turn a boring, brightly lit shot into something moody and shadowy by lowering exposure, and get better shots of subjects that are in shadow with a strong backlight by using the slider to brighten your image.

The iPhone and Galaxy both focus extremely quickly, and the main lens is stabilized on both models. The secondary lens of Note is stabilized, but the iPhone 8 Plus's 2x optic is not. If you think you'll be using it a lot, especially for video, and are an iOS user, consider waiting for the iPhone X, which has dual stabilized rear lenses.

Video

Both the iPhone and Samsung flagship models record video at 4K quality. But the iPhone lets you select the frame rate—24, 30, and 60fps capture options are available. The Galaxy S8 and Note S8 are locked in to shooting at 30fps at 4K, but can push to 60fps at 1080p. (The iPhone can do that too.) To change video settings with the Note 8 you'll use the camera app, which make sense. To change resolution or frame rate with the iPhone, you must dive into your main Settings app and find the camera page. It's confusing and doesn't let you vary the look of your video with the ease that I'd prefer.

That makes the iPhone a bit more versatile for folks who like the different looks that varying the video frame rate can do. You can shoot at 24fps for a cinematic look, at 30fps to match traditional video, and 60fps for that ultra-smooth fast-action look. And because it does all three at 4K, you have liberal room to crop down to 1080p to get a tighter field of view while maintaining stabilization. The iPhone also supports 1080p slow-motion footage, captured at 120fps or 240fps for one-quarter or one-fifth playback speed, something that the Note 8 and Galaxy S8 don't do.

The iPhone 8's wide-angle camera has the best stabilization of the bunch. Video is effectively smoothed, so there's no jitter, and it looks quite natural—all at 4K. The Note 8 has dual stabilized lenses, and while they aren't jumpy and jittery, you can see the frame shake as you take steps while walking, an effect absent in the 8 Plus' wide camera. The 8 Plus is definitely using some digital stabilization to steady its 2x lens footage so it's not jittery, but it's not as smooth as any of the optical options, and you can see some unnatural motion that's a result of the digital stabilization.

In addition to standard video capture, the iPhone will auto-edit videos on demand, highlighting photos and moments from a certain time period. I tried it out. It made some weird choices. It mixed up a few portraits of staff members with lots of images from our camera test scene, and omitted everything I shot in the botanical gardens. I guess it likes people and test charts more than flowers. If you use your phone to take more typical photos, it'll hopefully do a better job.

The iPhone also shoots what Apple calls Live Photos. They're a mix of a second or so of video leading up to your shot, followed by the image itself. It's a neat concept—Nikon did a similar thing with its failed series of Nikon 1 mirrorless cameras. But if you don't see yourself sharing these types of clips you might want to turn the feature off, as it takes up more space than a standard photo.

Dual Lens Features

If you're shopping for an iPhone 8 or Galaxy S8, you can disregard this section. We're going to talk about what the dual lenses in the 8 Plus and Note 8 bring to the table. In addition to a tighter field of view when shooting photos, they both use depth information delivered by the cameras to map scenes and simulate the out-of-focus blur, also known as bokeh, associated with wide aperture lenses and big image sensors.

They do it a bit differently. Apple doesn't let you adjust the amount of background blur, while Samsung does, but iPhone 8 Plus owners have specialized lighting effects that can be applied to images, whereas you don't get that with the Note 8.

On the iPhone it's called Portrait Mode, although it works when holding the phone in landscape orientation and you certainly aren't limited to photographing people. Samsung calls its version Live Focus. Both require you to be a few feet away from your subject to work, and both allow for adjustments to the image and effect after capture—think of it as a Lytro camera, but with much better image quality.

For my first batch of test shots I wanted to photograph a person, and PCMag features guru Chandra Steele volunteered. I did my best to match up framing and lighting with both phones, as well as with a Canon EOS 5DS R with the latest Tamron 24-70mm f/2.8 zoom lens attached. The SLR shot ended up being at 66mm at f/2.8. The results are above. You'll notice that the shots aren't labeled. See if you can tell the difference between the phones and pro SLR.

Running from left to right, we have the Note 8, the Canon, and finally the iPhone. Despite it being a windy day, the Note 8 managed not to do anything awful to Chandra's hair in the depth-mapping process and delivers, to my eye, the look that's most similar to a pro SLR and f/2.8 zoom lens. The wood railing behind our subject isn't quite as blurred in the Galaxy shot, but the building in the background is blurred with aplomb. The field of view is slightly different with the Note 8, despite all three shots being captured from the same position with a similar pose. That's because the Note's main camera is a little bit wider than the iPhone's.

The iPhone didn't do a good job with Chandra's hair. The top of her head is slightly cut off, and there's a more noticeable cutout at the camera left side of her head. Why? A close look at the images (below) tells the tale. The iPhone's algorithm is getting thrown off by some individual hairs at the top of the head, as well as bit of the building behind Chandra that isn't fully illuminated by the setting sun. The image on the far left is the non-portrait iPhone shot (you can toggle the effect after an image has been captured), with the iPhone's Natural Light portrait shot in the middle, and, for comparison, the Note 8's take on the portrait on the right.

That's not to say that Samsung's algorithm is perfect; it can definitely get tricked up. But at press time, it appears to have a bit of an edge when it comes to mapping humans. I also took both phones to brunch, followed by a trip to the New York Botanical Gardens, to see how their bokeh modes handled two popular Instagram subjects—food and flowers.

When it comes to eggs benedict, both phones do an admirable, Instagram-worthy job. The iPhone underexposes a bit in shady lighting, but that's something you can easily fix after the fact, it's not significantly dim. It handles this background well, with soft, feathered blur, and I don't see any problems with the mapping of the subject itself. The Note 8 doesn't deliver as much blur, even at its most extreme setting, but out-of-focus highlights are pretty good, they just don't have the same feathered look as you get with the iPhone.

At the gardens I nabbed shots with both phones that would fool veteran photographers at Instagram sizes. Both did an excellent job mapping a lotus that was part of an outdoor water garden exhibit. But when it came to shooting a bird-of-paradise, the iPhone managed to get the proper amount of background blur, while the Note 8 shows a bit too much in focus behind the flower, even with the blur set to its maximum level.

I'm thinking the wider wide-angle lens is in play here. For this particular image, shot indoors under skylights, Samsung's colors are warmer and more pleasing to the eye, but again, it's easy to warm a photo to taste, either using the iOS Photos app or the editing software of your choosing.

Both phones failed big time when it came to capturing a swirling fiddlehead fern plant. The Note 8 struggled to map it and I only managed a couple of blurry shots that were the camera's attempt at blurring the background (the wide-angle shots, which the Note 8 also saves, are sharply focused). The iPhone picked up on certain parts of the plant, but did a poor job of deciding what should be in focus and what is blurred.

Right now, both phones have plusses and minuses when it comes to bokeh simulation. The iPhone 8 Plus sometimes struggles mapping hair when photographing people, while the Note 8 steps up and does a solid job. But for other shots, especially those when the background is not far off in the distance, the iPhone draws the out-of-focus area with a blurrier, more pleasing feathered look. Both fail the fiddlehead fern test, but let's be honest, it's a weirdly shaped plant. Because the portrait effect relies so heavily on software processing, there's a good chance we'll see improvements in both camps as software updates roll out from Apple and Samsung.

Remember that with both phones, shooting for shallow depth of field isn't the most candid process. It takes longer to focus and map a scene than it does with a single lens, so if you want to get photos of your toddler running around that look like they were shot with a big-sensor camera, you'll still need to get a camera with a big sensor. Point-and-shoots with 1-inch sensors, like the Sony RX100 III, do this quite well and fit in your pocket, and there are a wealth of options in the mirrorless and SLR world if you're willing to deal with a larger interchangeable lens model.

iPhone-Only: Portrait Lighting

Let's talk about the marquee addition to the iPhone's portrait mode, absent completely from the Samsung side of the fence. Portrait Lighting, still in beta, is exclusive to the iPhone 8 Plus at this time, though it will also be included in the forthcoming iPhone X. The tool adds a new dimension to your portrait shots, allowing you to change the lighting on your subject's face, or spotlight them against a black background, the latter with tuned modes for color or black-and-white photography.

The default setting, Natural, is what we've seen before in the 7 Plus. The updated A11 processor in the new iPhone models adds some new lighting effects. You also get Studio Light, which promises to keep your subject's face brightly lit, and Contour Light, which promises to deliver images with shadows, highlights, and lowlights. I found these effects to be pretty subtly different; but if you look closely you can see what each is doing. The iPhone lets us create multiple looks from a single shot, so I took one image of Chandra and applied each lighting effect.

The Natural effect looks pretty good to start, but the shot was taken as the sun was low on the horizon, so the light was pretty soft to begin with. There are distinct shadows visible, however, especially where the hair shadows the face.

Switching to the Studio look brightens those shadows, painting both of our model's eyes brightly. It's almost as if I had an assistant standing next to me holding a reflector for better illumination.

The Contour look is pretty close to Natural here. There's still some shadow on the eye under the hair, but it's been lifted slightly. Skin seems a little softened, and the highlight on the nose is brighter than it is with the Natural look. With more stark lighting to start, I imagine the effect would be more pronounced.

Stage Light, in both its color and monochrome forms, is instantly recognizable. The background is gone, along with some of Chandra's hair and the ruffles on the shoulders of her dress, unfortunately. Shadows are lifted, like in Studio, and we get a little bit more brightness in highlights, like you'd expect from Contour.

If Apple is able to improve its mapping methods to deliver a more consistent out-of-focus effect, it has something here with the lighting effects. It's deadly easy to switch between looks, even after you've taken a shot, so you get the one you want, and after that you can edit more using your favorite app.

The Winner

If you're one of the (seemingly) few individuals who are agnostic when it comes to preference between Android and iOS, and are choosing your phone based solely on camera performance and capability, you'll want to narrow your search to one of the dual-camera models. They give you more versatility when capturing images, as the shallow depth of field options deliver a look that you associate with a much larger, dedicated camera.

The iPhone 8 Plus has its strengths—its autoexposure tends to be better, especially in mixed lighting, and it we didn't see any extreme flare around bright lights when shooting night scenes like we did with the Note 8. It also tends to deliver photos with a shallower depth of field, offers more frame rate options for 4K video, and shoots slow-motion 1080p video.

The Note 8 does a better job with portraits of people, and keeps up with the iPhone for other subjects. When I tried the two side by side, they ran into similar problems with tricky subjects. The Note 8's secondary camera is optically stabilized, so video shot with it is steadier, which isn't the case with the iPhone 8 Plus. But the iPhone's wide-angle camera offers better stabilization than Samsung's.

If you don't want a big phone, and you don't want to wait or spend the money for the iPhone X (which promises to deliver as good or better overall performance than the 8 Plus), you'll likely be shopping for an iPhone 8 or Galaxy S8, both of which use the same main camera as their larger siblings.

The S8's main camera delivers photos that are slightly wider in angle, albeit sometimes over-sharpened when shooting JPGs. This means that photos shot at low ISOs show a little more pop than you get from the iPhone 8, but as the sensitivity ramps up the two phones deliver more similar results. It's not until ISO 800 that the Note 8 shows a very slight advantage.

Indeed, what you get from the iPhone 8 and S8's main lenses, from a still-capture perspective, are so close that it really should come down to what other phone features you like better, and which operating platform you prefer. If you want significantly better images, stop shooting with your phone and buy a camera. Compact models with 1-inch sensors will run circles around a smartphone in pure image quality, and if you think you'll use a bigger camera with regularity, you can opt for a mirrorless model or SLR with interchangeable lenses.

Source: iPhone 8 Plus vs. Galaxy Note 8: Camera Battle

Zenit considered working with other major companies on their new full-frame mirrorless digital camera

I received some information that the Russian camera brand Zenit (KMZ) was in talks with at least one more major brand (other than Leica) about their upcoming new full-frame mirrorless digital camera. Leica was probably just one of several companies Zenit was considering (those rumors started on a Russian forum). It is not clear what is the final outcome, but there is a possibility that Zenit may work together with another major brand and I am not talking about Leica or Sony here.

Stay tuned for updates.

Source: Zenit considered working with other major companies on their new full-frame mirrorless digital camera

Mirrorless Camera Maniac: Take Advantage Of Silent Shutter

Many DSLR's have a Quiet Mode. One way this is done is by separating the sound of the shutter from the slap of the mirror. When you press the shutter button the mirror flips up and the shutter is fired, exposing the image. But then the mirror doesn't flip down until you remove your finger from the shutter button. This works surprisingly well to make your camera not sound like a camera and it's far less distracting in quiet situations–I've even photographed live ballet performances this way without ruining the show.

Silent Mode Trumps Quiet Mode

Mirrorless cameras, on the other hand, can be so much quieter than DSLR's. There's no mirror to slap, and even the shutter sound can be eliminated. For most mirrorless cameras in silent mode, the only sound will be the closing of the aperture to shoot. The shutter can be completely disabled and the camera will be virtually silent.

When to Use Silent Shutter

Anytime you need to be unobtrusive is the right time to use Silent Shutter. Weddings benefit greatly because even at high frame rates the camera is silent. Photographing quiet sports like dance and golf are ideal. Wildlife and hunting photography is best done with mirrorless cameras so you don't spook the animals. Candid street shooters and everyone covering events should also explore Silent Shutter. I wish photojournalists covering the White House would use mirrorless cameras because all I can hear during press conferences are the clicks of D5's and 1DX's rapid firing in the background. The White House should make a policy…

Beware of These Things

Silent Shutter is a terrific tool, but as with everything in photography, it has limitations and compromises. Watch out for these situations:

LED & Fluorescent Lights

LED and fluorescent lights are constantly cycling on and off which can be recorded visibly when you use a fast shutter speed. However, you may notice that the scanning effect is emphasized in Silent Shutter mode. You'll see lines or bands of dark and strange colors across your photo. The easiest solution for this is to use a slower shutter speed. Under fluorescent lights, slowing to 1/60th of a second is usually sufficient.

But if you're under LED's that have a scanning issue, you may have to go as slow as 1/20th of a second to remove the effect. Higher quality LED's don't have this issue, but if you're planning to use LED light bulbs in your studio you should make sure that they have a return policy. Any lights you buy from a place like B&H should be just fine even at higher speeds.

Interestingly, older versions of the Tesla Model S had LED headlights that had this issue. It's since been fixed with a firmware change. I shot an event in a very fancy hotel, however, that had been an early adopting of LED light bulbs, but the scanning was so visible that I had to shoot at just 1/20s which made it very hard to record presenters who had lots of mannerisms.

Rolling Shutter

Another problem with the Silent Mode is that it can have an issue called rolling shutter. The issue arises because the sensor doesn't record the entire frame all at once. It records line by line across the image all the way down the sensor. You could figure out how many lines of pixels your sensor has and be amazed anew at the technology in your hands.

The trouble is that when you film something very fast, it has already moved to a different part of the frame by the time the sensor has read all the way down. This can make fast moving objects appear distorted. It's a problem for Silent Shutter, but it has been a problem in photography ever since the shutter was invented–more than 100 years ago. One solution might be to try to time your shot with the peak of movement–like the very top of a golfer's swing– so there is less motion to give you trouble.

Conclusion

Silent Shutter mode is such a powerful tool, and I'd say my camera is set to Electronic Shutter (Lumix name) 80% of the time. It makes it possible to shoot in otherwise impossible situations. Just pay attention to the kind of lighting around you and know that slowing down the shutter will fix the issue, and pay attention to how rolling shutter might affect your movement pictures.

What kind of success have you had using Silent Shutter in otherwise impossible shooting situations?

The Mirrorless Camera Maniac publishes each week–check them out right here.

Levi Sim Levi Sim is passionate about making photographs and helping others make their pictures better, too. He's a full-time photographer making business portraits and marketing and branding pictures for a living. He spends the rest of his time practicing all other kinds of photography. Read more of his articles here. Latest posts by Levi Sim (see all)
Source: Mirrorless Camera Maniac: Take Advantage Of Silent Shutter

Fotodiox Pro’s New PRONTO Adapter Gives Your Vintage Lenses AF on Sony Mirrorless

Feature Image Screengrab from Video. Credit to Fotodiox Pro

It is no secret that one of the best advantages of mirrorless over traditional DSLR systems is the ease of adapting various lenses to your camera. You can use really old vintages lenses for a unique look and feel with ease, but the one thing that you always give up when you use these old lenses is Auto Focus – but Fotodiox Pro doesn't want that to be the case anymore (at least on Sony mirrorless) thanks to their new PRONTO lens adapter.

The PRONTO lens adapter does something unique, it allows the camera to communicate with it, and then uses a tiny motor to adjust the position of the lens to achieve focus in the shot. What this means is you can now use your vintage or manual focus only lenses with autofocus! Now, it's not going to be incredibly fast or accurate AF, and definitely not good for tracking subjects, but if you don't mind a slightly slower AF experience this could be a nice lens adapter for you.

But whats more, it's not limited to just one lens mount. The PRONTO base can be used with several other primary mounts, so you can use this one adapter with Olympus OM, Pentax, Nikon, M42 and more by simply switching out the lens mounting plate. Which makes this an even more interesting idea.

Fotodiox Pro says the adapter works with the Sony camera's phase detection AF system, so it may be faster than contrast detect based systems, but color us skeptical until we see that work well with our own eyes. Additionally, we do somewhat wonder who could really NEED this sort of adapter – sure, if it was as fast and accurate as a normal Sony lens that would be one thing, but we can be pretty sure that is not the case. So then the question becomes, is this AF going to be faster and more accurate than you with the all of the manual focusing aides that Sony cameras have now? That depends on the photographer, but we know from experience that fast and accurate MF is totally possible, so we wonder at what point it would be better to just perfect your MF skills vs invest in an adapter like this.

We guess time will tell. More information about the PRONTO lens mount adapter can be found over on the Fotodiox Pro website, here.

Source: Fotodiox Pro's New PRONTO Adapter Gives Your Vintage Lenses AF on Sony Mirrorless

Zenit's full-frame mirrorless camera will use components made by Leica

Following an announcement last month that camera maker Zenit would launch a full-frame camera in 2018, USSRPhoto claims the new Zenit model will be based on the Leica SL full-frame camera. Leica will reportedly make components for the Zenit based on the ones found in its Leica SL camera, but will tailor them specifically for the upcoming Zenit model.

Little is known about Zenit's plans at this time. In mid-August, an announcement that Zenit would return with a new camera was reportedly made on Moscow Region Radio 1. No camera specifications were provided aside from the fact that it will be a full-frame mirrorless model with a brand-recognizable design and an anticipated 2018 launch date.

We know that the reborn Zenit company won't try to compete with the industry's biggest camera makers, and it was stated at the time that a "leading photographic equipment company" would be used to produce some of the new model's components. That company wasn't revealed, but assuming USSRPhoto's leak is correct, it will be Leica.

However, and in speaking to PetaPixel, USSRPhoto said the KMZ Zenit factory in Russia will itself produce the new lenses for this upcoming model, and that work on this project has already started. Though the factory isn't capable of producing electronic components for the camera (hence Leica's involvement) it does have the equipment necessary to make its own optics.

Additional information—such as cost, specs, and a more specific release date—still haven't been revealed.

Source: Zenit's full-frame mirrorless camera will use components made by Leica

Nikon Has New Mirrorless Camera On The Way

The Nikon 1 line isn't going to be the imaging giant's only foray into the mirrorless market. The company is hinting that new mirrorless line will be full frame. A statement from the company has confirmed initial rumors in July. A September interview suggests that upcoming camera will sport a full frame sensor. In an interview with the Japanese newspaper Nikkan Kogyo Shimbun, Nikon president Kazuo Ushida initiating a new round of Nikon mirrorless rumors when he hinted at a high-end mirrorless camera in the company's future. Nikon released a statement confirming what the translation suggested in July.

READ MORE SEE LESS

Source: Nikon Has New Mirrorless Camera On The Way

Nikon reveals it’s working on a full-frame mirrorless camera

While camera makers like Sony, Fujifilm, and Olympus have found varying levels of success with the mirrorless camera format, Nikon has been more conservative, limiting its offerings to devices that are closer to the point-and-shoot market. It looks like that's going to change soon, as Nikon has said that going forward, all of their mirrorless cameras will be full-frame.

This was revealed by Nikon's R&D manager Tetsuro Goto in a recent interview with China's Xitek. When combining his statement with Nikon's recent hints about working on a "serious" mirrorless camera model, it's likely that upcoming device will the company's first such camera to feature a full-frame sensor.

Goto goes on to mention Nikon could be the first to serve the niche of professional photographers looking to shoot with mirrorless cameras. Either he's in denial or blissfully unaware that Sony has already been targeting that market, especially with the recent full-frame A9.

Then again, Nikon might just be attempting to get the jump on rival Canon, which has been rumored to be developing a full-frame mirrorless camera for release in 2018. Sadly, Goto didn't reveal any specs or offer a timeframe of when we might see this new Nikon, so in the meantime we'll have to wait and see what's in store.

SOURCE Nikon Rumors, Xitek

Source: Nikon reveals it's working on a full-frame mirrorless camera

How I Use My Cameras by Xyza Cruz Bacani

The X100F, on the other hand, is a tiny camera packed with amazing functions. It is my everyday camera for street photography. People do not notice me when I am photographing them – making me a ninja. This camera is fast and invisible.

I also enjoy the fact that I do not need to worry about my cameras under bad weather. The GFX is a weather resistant camera and I've used the other Fujifilm cameras without worries, rain or shine. I love that these cameras let me do my work and enjoy photography daily.

On a recent trip to Japan, I went to a Mosque on assignment to shoot for a paper. I used my X100F on the first day and noticed that the people I am photographing are more relaxed because I was not using a big DSLR. In my line of work, it is critical to establish trust between the subject and I on the first day. I was able to get the access and take some intimate images with the X100F. It is compact, quiet and not intrusive on first day shoots yet it still gives me high quality images especially on print.

X-Pro2 & XF14mmF2.8 R, F5, 1/2000s, ISO3200
Source: How I Use My Cameras by Xyza Cruz Bacani

Going for the low light performance. What format or camera is my fave in mirrorless? By Steve Huff

Going for the low light performance. What format or camera is my fave in mirrorless? 

By Steve Huff

I am knee-deep into my Hasselblad X1D review and make NO mistake. I love it, but at the same time I am well aware that there are other cameras that can do very close, similar work, for less. As I have explained, I am one who enjoys the designs and build of cameras just as much as what they can do for the output. The X1D is tops over any I have shot in that area. But there are also things I love about other cameras I own or have shot with. The Leica SL. I love it for some of the same reasons, but with the sensor and EVF of the SL along with great Leica Glass, it too puts out a "Medium Format" look to the images at times. It only lacks in low light when compared to the X1D really, and weight and size (when using something like a 50 Lux SL). The SL and Lux combo, though, is the same cost as the Hasselblad X1D setup with 45mm lens. I like them both equally as much, for different reasons. I even feel that at times, that SL can put out a nicer image than the Hasselblad. At times. Sa me goes for the Hasselblad, at times.

I shoot a lot in music clubs, and many of my images have never been published or posted here, or anywhere. In fact, I just started working on a year-long project for this club series. So it's something I love and enjoy, a part of my life enjoyment. I tested many cameras in these environments. From the Leica Monochrom 246 (did great) to the M 240 (failed) to the Olympus EM1 (failed) to the Fuji X-Pro 2 (no go) Leica M10 (did good) and even a Canon 6D (did good). I have shot the A7RII and A9 in this environment as well, and they did wonderful.

My fave two setups here in this scenario though have been the A7RII with a Canon 50 1.2L lens and now the X1D.

Both provided rich, low noise results. This had me thinking today…in reality all I "need" for this series is a Canon 50 1.2L for my A9. Or a Sony 50 1.4 which is also an awesome fast 50 with a Summilux type character. But there it is again, the "need" vs "want", lol. We all know about diminishing returns here but if my goal is low light performance, the realities are that there are only a few choices in mirrorless that will do it for me. There are a few DSLRS as well, but you guys know I am not a DSLR guy, so I will leave those out.

So as I test this X1D I am truly thinking hard about a few things for my "low light" camera choices..

What solution will deliver the best results?

What solution will deliver the most enjoyment?

What system will inspire me the most to use it?

What system will be the best "bang for my buck"?

What system will give me the least hassles?

What system will print the best at 16X20?

I will answer these below, as I have the answer..but 1st a few low light photos from a few cameras that worked well in these environments…

The original Sony A7s takes the stage…though this club has some better lighting than my usual haunt. At 12MP, large prints are doable, but may not have the most impact. 

–

Below: The next two shots are from the Sony A7RII with Canon 50 L 1.2. This is a beautiful setup. The A9 would perform in a similar way. 

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The Leica Monochrom 246 at ISO 10k. Another gorgeous setup for low light, if you are OK with only B&W imagery. 

The Leica SL is a bit tricky in this situation. I would not choose it as my 1st camera for these ultra low light clubs. But with the right lens, it can work. Just not ideal for really low light. 

–

The X1d with 45 f/3.5 is pushing the limits due to the f/3.5 aperture. This means the ISO has to be jacked up to 12,800 or 25,600. Luckily, this is ok with the X1D as the results are beautiful regardless but its right at the limits. I ordered a 16X20 print of the shot below..and it is a 1/3 frame crop from the X1D original file.

So the answers to the questions above, I have them.

The X1D is the answer to #1 as to which will deliver the all out best results for what I am doing. But the Sony/Canon comes in a VERY VERY close 2nd. Almost a tie.

Enjoyment? Well, the X1D is. the camera I would enjoy more to shoot. It is what it is.

Inspiration? Well, both really. The Sony and 50 L combo is fun to shoot due to the qualities of that unique Canon lens. The X1D is inspiring all by itself. Makes you want to go shoot.

BANG FOR THE BUCK? Sony wins here. The A9 and Canon lens is under $6k or just about half of the X1D combo. THAT is a chunk O change.

Least hassles? Wells so far neither have given me any hassles, so as of now, both are good here.

Prints? Well, if comparing the A9 to the X1D, the X1D wins. The A7RII would be closer of course due to the higher res. X1D wins. Can't deny the facts, and that sensor is a beauty.

So by looking at those answers, it is sort of tie between the Sony/Canon combo and the X1D.

If I end up keeping the X1D I may also have to buy a 50 1.2 L (well, in a couple of months) to go with my A9, and shoot them both in these clubs for my year long project. I would add the 90mm f/3.2 for the X1D in about 4-5 months and call it a day for my personal photo gear setup. Would be all I needed. But I am not sure yet on what I will do. That may take me another week or two to grind around in my head. One other camera above, that Leica MM..gorgeous. But I have given up rangefinders these days due to my eyes and deteriorating vision.

But from the Sony to the Leica to the Hasselblad, while none of these are "cheap" options, they are all amazing cameras, and the best bang for the buck in MIRRORLESS for low low light shooting like this with intent to print may just be the original Sony A7RII and that Canon 50 1.2 L. Gorgeous setup, not too large and practically sees in the dark.

If low light is not needed, then we can move onto Micro 4/3 for mirrorless as well, as in decent light that system rocks. Fuji as well. With great light the Fuji colors are so so nice. But this is an article about chasing that fading light into almost darkness, and today we have a few choices in mirrorless that can get the job done. I will say though, the best low light performance of the bunch here is the Hasslebald. It should be for the cost but that sensor made by Sony is a special one indeed. I can't believe they have not implemented yet in a new Sony body ; ) Hmmm.

Source: Going for the low light performance. What format or camera is my fave in mirrorless? By Steve Huff