Gear, Mirrorless, NewsComments Off on The First Half of 2020 Will Brings Lots of Mirrorless Announcements From Canon
Canon is slowly filling out its mirrorless line, but there are still some cameras and lenses that photographers are waiting to complete their kits or to justify switching. The good news is that Canon seems to be planning a lot of releases for their mirrorless line in the first half of 2020.
GearComments Off on Tiny and Capable: A Review of the DJI Mavic Mini
The DJI Mavic Mini is a ludicrously small drone, but that does not necessarily mean it does not come without a set of professional features. This great review takes a comprehensive look at the new drone to help you decide if it is the right one for you.
GearComments Off on An Experiential Review of the Atomos Shinobi External Monitor for Photography
The use of external monitors in shooting stills at honestly seemed unnecessary at first, especially in shooting more pace-sensitive kinds of photography. But as an architectural photographer who generally has more room for precise compositions, it seemed more feasible.
External monitors are more commonly used in shooting videos than photos. There is a wide variety of external monitors that are compatible with most modern cameras (at least those with an HDMI port). Atomos is one of those brands most known for such, especially their bigger monitors that come with a built-in recorder such as the Atomos Ninja V. Given that architectural photography deals with very crucial precise composition and attention to details, the use of the Atomos Shinobi seemed sensible.
Build and Design
The Shinobi comes in a 5.94 x 3.6 x 1.24 inch polycarbonate body that weighs only 196 grams (battery not included). It has 1/4” female mounting threads on the top and bottom parts, a 3.5mm audio output port, HDMI port, and an SD card slot on the sides. The SD slot does not function as storage but works as a way to import color profiles instead. Personally, the only thing I would change about this is to give it a more rugged exterior probably with rubber protectors on the corners.
Gear, MirrorlessComments Off on A First Look at the Fujifilm X-Pro3 Camera
The X-Pro3 is the latest camera from Fujifilm in their highly lauded X Series, and with it comes a highly interesting design with lots of features and power to spare. Is this unique camera the right one for you? This excellent first look video will give you a pretty comprehensive overview that should help you decide.
Tamron really has their focus on the Sony mirrorless camera users. The existing Tamron lenses for Sony mirrorless, the 28-75mm f/2.8 and 17-28mm f/2.8 have been quite successful due to their superb quality and competitive pricing. That is why many users have been awaiting the lens that would complete this zoom lens trinity, a fast telephoto lens, certainly.
Today, Tamron announced the development of the Tamron 70-180mm F/2.8 Di III VXD. However, aside from that, a lot are still yet to be revealed by the third-party lens brand. In addition, however, they finally revealed the 3 new prime lenses for the Sony mirrorless line-up. The 20mm F/2.8 Di III OSD M1:2 (Model F050), 24mm F/2.8 Di III OSD M1:2 (Model F051), and 35mm F/2.8 Di III OSD M1:2 (Model F053). The 24mm and 35mm lenses will be available on November 20th and the 20mm will be available in January 2020. All three prime lenses share the same price tag of $349.
GearComments Off on A Comprehensive Review of the Sony a7R IV
The Sony a7R IV brings the company’s latest innovations and improvements to the popular line of high-resolution full frame cameras. Along with its new sensor come a bevy of new upgrades and refinements to existing features, making it an interesting choice for a lot of photographers. This comprehensive and thorough review takes a deep look at the camera to help you decide if it is right for you.
Coming to you from Maarten Heilbron, this excellent review takes a look at the Sony a7R IV. The a7R IV features lots of upgrades over the a7R III, the most prominent being the new 61-megapixel sensor, an upgrade of almost 50% over its predecessor. Along with the new sensor comes a better EVF, more ergonomic grip, more powerful autofocus, better weather-sealing, and more. The capability to fire at 10 fps at 61 megapixels is certainly a boon for many photographers, particularly wildlife photographers, who retain vast cropping capabilities with enough speed to capture animals in action, all supplemented by the capable autofocus system.
Apple, GearComments Off on What Is Apple’s Semantic Rendering and How Does It Affect iPhone 11 Photos?
Apple has made a lot of noise with its camera-festooned iPhone 11 models, but beyond the lenses and hardware is a lot of interesting software. It’s arguably that software that’s driving the biggest changes to photography to date.
Some of that software isn’t available yet, such as “Deep Fusion” AI which Apple’s Marketing Chief described as “computational mad science,” or marketing speak for “I’m not really sure what this is yet, but it’s got a cool name.” But one of the technologies that is available right now is “semantic rendering,” which according to an article from Digital Trends is basically an editor in your phone touching up each individual part of your image.
Cinematography, GearComments Off on Large Format Is Still Completely Unrivaled: Canon 5DS R Versus 4×5 Large Format Film
Over the last couple of months, I’ve been getting to know a photographer called Adam French who lives in the same city as me. French is a photographer who primarily shoots with a large format film camera. I was utterly blown away by some of the work he produced, and I asked him if he’d be interested in working with us on a YouTube video.
In the video linked above, we decided to compare a 50-megapixel full-frame camera, the Canon 5DS R, to a large format 4×5 film camera. The lenses we used for the comparison were the Sigma 50mm f/1.4 Art on the Canon versus a 180mm f/2.9 lens on the 4×5 camera. If you’re interested in what the equivalents are, then the large-format lens would be somewhat similar to a 50mm lens with an aperture of around f/0.8 on a full-frame camera. This kind of depth of field is simply ridiculous, and currently, nothing like this exists for any digital camera produced by any of the well-known manufacturers. Even if you’re shooting with a digital medium format camera, it simply isn’t possible to produce that kind of depth of field natively.
GearComments Off on Canon Just Announced the EOS M200 and the Launch Video Is Fascinating
Canon has announced the launch of the EOS M200, a small camera featuring a 24-megapixel APS-C sensor, Dual Pixel autofocus and 4K video. Canon has also packed in a few features that make it more accessible to those without a deep knowledge of photography who are looking to produce and share content quickly on social media. What’s more interesting, however is the marketing video itself.
When watching the video above, a few things jumped off the screen at me.
Connected But Still App-alling?
Web-ready content is key in today’s media environment and Canon is keen to push the M200’s wireless and Bluetooth connectivity. However, users can but hope that Canon is also taking steps to improve its smartphone apps which don’t have a particularly good reputation. Given that the example in this video shows a camera with the nickname of “EOSM200_C64D7,” Canon might still have a long way to go when it comes to understanding how to make something user-friendly.
Action cams, GearComments Off on OCLU Action Cam: Delete Unwanted Footage on the Fly
Offering in-body stabilization that seems to compete well with other action cameras on the market, the OCLU also has an aerodynamic design and a wide selection of accessories. These attachments and casings are sold as “Bundles” that are geared towards underwater usage or attaching the camera to specific pieces of equipment.
Perhaps most appealing to extreme sports enthusiasts is the ability to delete footage on the fly using the camera’s “Live Cut” mode. When you’ve finished filming a specific clip that you don’t plan to use, instead of hitting the record button again to stop, you press a different button to delete the clip. This allows you to avoid fill-in up your micro-SD card with unwanted footage.
Dynamic range is sort of like the new megapixels in 2019: it is the camera spec that a lot of photographers use as a benchmark to compare different bodies. But how much does it really matter when it comes down to it? This great video examines the concept and if it is something you should obsess about.
GearComments Off on A Review of the Tamron SP 35mm f/1.4 Di USD Lens
Tamron has been killing it with their lens releases in the last few years, undercutting the prices of first party manufacturers by significant amounts while still providing high optical quality and performance that have led to an increasing presence in the professional segment. This great review takes a look at the Tamron SP 35mm f/1.4 Di USD lens for Canon and Nikon DSLRs.
GearComments Off on Godox AD200 Pro Versus Geekoto GT-200, the Two Best Value Strobes
The Godox AD200 Pro is considered by many to be the best value in photography strobes but Geekoto recently created their own competitor, the GT-200. Is this new strobe a better option? Let’s find out.
The Geekoto GT-200 is slightly smaller than the AD200 because it doesn’t have a removable flash head. If you don’t need the extra flashheads, you’ll appreciate the extra room in your bag.
The Godox AD200 Pro comes with two flash heads; one speedlight style head and one barebulb style head while the GT-200 comes with a fix speedlight style flash head. The Geekoto comes with a removable handle that makes holding it easier.
Geekoto does sell a larger package that includes a softbox, light stand, grid, gels, and dome for $120 extra. These accessories are quite good and I believe they are worth the extra money.
Gear, MirrorlessComments Off on Why I Bought the Sony a7R IV for Wildlife Photography
Before today’s launch of the Sony a7R IV in the U.S., I had the opportunity to use the new 61-megapixel camera on a few occasions. Ultimately, these hands-on experiences led me to purchasing it for animal photography and in this article I list a few reasons behind the decision.
First, a quick disclaimer. What I write below is not in defiance against any other camera system. Every major camera brand has absolutely killer options for bird and wildlife photography. My list consists of some features and specs I identified wanting in priority over other nice things to have in a camera, and everybody’s own personal requirements will be different.
Hey, don’t laugh. I didn’t think a million megapixels would be a defining factor either. Yet here we are.
As all the headlines are quick to point out, the a7R IV has a 61 megapixel sensor. For some genres of photography, this is surely overkill. For me, I crop just about every single photo of wildlife I shoot to enlarge the animal in the frame. With the a7R IV, I’m never cropping down into the “danger zone” territory where the final resolution is pretty much only good for Instagram sharing.
GearComments Off on Overview of the Sony a6100 and a6600 APS-C Cameras for Photo and Video
Sony has introduced two new crop-sensor camera bodies with the a6100 and a6600. Were they worth the wait?
In this first look at the two new Sony APS-C cameras, Dan and Sally Watson try them out for both stills and video and give their impressions. Sony also announced two new APS-C lenses alongside the a6100 and a6600, the E 70-350mm f/4.5-6.3 G OSS and E 16-55mm f/2.8 G, and the couple share the general takeaways after using them as well. Overall, these two cameras keep the APS-C line up to date for new Sony customers but lack any real head-turning features.
Cinematography, GearComments Off on Fstoppers Reviews the Haida M15 150mm Magnetic Filter Holder System
With extreme wide-angle lenses on the market from all the major players now that don’t accept screw-in filters, filter manufacturers have stepped up their offerings with larger filter holders and dedicated attachment rings. One such offering is Haida’s M15 Magnetic Filter Holder.
As with my last review of Haida’s M10 system, this test unit was provided for me by their marketing division. I’ve had a couple of weeks with it and the Fujifilm 8-16mm f/2.8 and am now ready to share my thoughts on the holder.
While the M10 will be fit for most people’s purposes, those using ultra-wide lenses like a 12-24mm will likely need a dedicated filter system. Haida offers adapters for all the major ultra-wide angles including the Sony 12-24mm f/4, Canon’s 11-24mm f/4, and Tokina’s 16-28mm f/2.8. You can see the rest of their dedicated adapters on the product page.
GearComments Off on A Review of Sigma’s 500mm f/4 DG OS HSM Sports Lens
Traditionally, the most extreme supertelephoto lenses have mostly remained the purview of first-party manufacturers aside from a few exceptions, but Sigma recently dipped its toes back into the waters with the 500mm f/4 DG OS HSM Sports lens. Can it keep up with Canon and Nikon’s variants? This great review will answer that question for you.
Cinematography, GearComments Off on Why the World’s Best Photographers Are Sticking With DSLRs
Following the announcement of the winners of the World Press Photo competition last week, Spanish photography website Photolari.com
compiled the metadata to examine what the leading photojournalists are
using to capture their images. The results are quite interesting and
demonstrate that the mighty DSLR is going nowhere. Here’s why.
In terms of brands, there are no great surprises when it comes to the most popular choices: Canon leads the way, with Nikon close behind. More surprising is the fact that only one finalist was shooting on Sony — the same as the number working with Leica, and significantly behind Fujifilm. Sony may have produced one of 2018’s most popular full-frame cameras in the shape of the a7 III, but photojournalists seem to prefer to stick with what they know.
GearComments Off on Is This the End of the Canon EOS 7D Series of Cameras?
Canon’s flagship APS-C DSLR, the 7D Mark
II, is long overdue for an overhaul, and all of the speculation for
2019 was that its successor, the 7D Mark III, would soon be announced. Rumors now suggest that it will be merged with the 80D, with an EOS R in the pipeline to take its place.
A few years ago, choosing between the 6D Mark II, the 7D Mark II, and the 80D was a tough choice, all offering broadly similar specifications, and all offering a reasonable price point. The 6D gave you full-frame; the 7D gave you more autofocus points, a faster burst speed, and dual card slots; and the 80D offered a flip-out touch screen, better dynamic range, and a lower price.
GearComments Off on Price Cuts on Canon 400mm f/2.8L II and 600mm f/4L II Lenses: No, You Still Can’t Afford Them
Out with the old and in with the new.
Now that Canon has updated their 400mm and 600mm lenses into the III
series, B&H has discounted the previous long-time kings of sporting
events and wildlife portraiture.
The Canon EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM, costing $11,999 and $12,999 respectively, began shipping to customers in December 2018. While the 600mm III seems to still be catching up to demand, I’ve seen the 400mm III has been readily in stock, and this must mean that it’s time to start phasing out the previous generation.
Taking a $2,000 price cut, you can now pick up one of these brand new previous-generation Canon EF 400mm f/2.8L IS II USM lenses for $7,999 and the EF 600mm f/4L IS II USM for $9,499. Both of these lenses were first introduced in 2011 and each saw a great reduction in weight compared to their first generation models, with the 600mm also gaining a full meter of better close focusing performance. They’ve been beloved workhorses and just because there is something newer out there, doesn’t mean these stop being phenomenal. If you have the coin, the temptation just got a little harder to fight.