2019 camera and lens manufacturers’ New Year’s resolutions

There's plenty in this universe that we're unsure about (Peas in guacamole? The resurgence of all 90's style trends? But something we are sure of: a few companies, most of which are headquartered in Japan, can create new cameras, lenses and photographic accessories at 2019. And like every season, a few will be great, some will probably be OK, and also one or 2 will probably likely be crushingly dull.

Thanks to some early product development announcements we already know a little of what the next year holds in store, but much remains a mystery. We could only guess what the following 12 months will bring -- suspect, hope, and play backseat speaker.

From the heart of New Years' resolutions we have together as a group and spoke about what we'd prefer that the major producers to do next year. Things we would like to see fixed, directions we'd like to see taken (and some we'd love to see reversed...) and goods we'd like to get released.

Oh, Canon - where should we begin? You are one of the biggest camera makers in the market, but you are still among the very conservative. This season you've teased us with a variety of excellent new RF lenses, but we're hoping that 2019 brings a marginally higher-end camera to take them with. But even as you build out the RF lineup, we all trust you don't neglect EF-M. An M50 Programmer with un-cropped 4K would be lovely - quite please?

Fujifilm, you're the darling of camera reviewers everywhere. You're among the few brands that, from time to time, nonetheless makes products which are far better than they will need to become in order to remain aggressive. The X-T2 was a fantastic camera, and you didn't have to replace itbut you went and did it anyhow! The X-T3 was one of our favorite celebrities of 2018. It nearly made up for its'4K competent' X-A5... But we are still hoping for longer in 2019.

Let us be honest, Leica -- that is pointless. It doesn't matter what we desire, or that which we say, or what everybody wants or says, you are Leica! You will only continue to do anything you want, and there is every chance in a couple of weeks' time we'll find ourselves reviewing a limited edition ping-pong-bat-rubber-clad Melania Trump signature-edition M10. And that's the reason why we like you.

Nikon, you're getting there. You launched the Z-mount having a bang in 2018, but despite the high-end prices you must have been aware that the flagship Z7 wouldn't be quite enough to tempt professionals and enthusiasts away from their D850 and D5 bodies. Maintain the pace and turn the Z bracket to the expert system which we know it could be. We are rooting for you.

Olympus -- we believe for you. You were one of the first producers to create a contemporary mirrorless camera, and today, a decade on, you are the only brand that does not (or is not planning to) provide its customers a full-frame sensor. We know that it's been a tough few years for you guys within the camera division but we have got a few ideas for how it is possible to interrupt things in 2019 and beyond.

As you prepare to go into the full-frame market in a couple of months, we can only picture that things are pretty hectic on your Osaka headquarters at this time. Hopefully you are not working the engineers too challenging, plus they get just a little time to read DPReview, because we have got some hints that we think might really help Panasonic outside in 2019.

Ricoh / Pentax
Pentax, we need to be careful what we say ... We respect your loyal client base, and we admire the manner that a number of them react to anything short of uncritically gushing praise for their favourite camera maker with... let us say... passion. But we are also scared of them. And we want you to succeed as far as your clients do. Below are a few suggestions.

Sigma, we hardly recognize you. Over the last decade you've gone from being a respected but midsize third party lens maker (plus a quietly prolific OEM maker ) to becoming a power to be reckoned with in the high-end optics market. You are making some of the best lenses readily available, while still undercutting the'large' manufacturers, often with a significant margin. How can you do so? We adore what you've been but sometimes love is about being fair. Below are some tips for 2019 and beyond.

Oh, Sonywe can't keep up! In the present rate of product announcements, you'll have published at least one brand new RX100-series streamlined, a GM lens or 2 and an a7 IV by the time we have completed writing this sentence. That's nice, but in 2019 we'd love to see you taking a small break, making a time to reflect, and possibly reprioritizing a little.

Tamron, you horse. You've been quietly adding a few really impressive lenses for your lineup on the past year, including the first ever zoom lens made natively for a full-frame mirrorless system. Not as successful as Sigma, or as market as the likes of Laowa or Zeiss, you're a great, strong, photographer-friendly company that we think deserves to be successful in 2019. And here's how we think you ought to do that.

Panasonic DC-LX100 II Review and the price 2019

The Panasonic Lumix LX100 II is a 17 camera lover zoom compact with a 24-75mm equivalent F1.7-2.8 lens. It utilizes around ~85% of the area of a Four Thirds-sized detector to give a choice of aspect ratios without narrowing the field of view.

Much like the Mark I, the LX100 II features extensive external control points but additionally, it also gains a touchscreen to accelerate procedures such as AF point placement and interacting with the customizable function menu.

Panasonic DC-LX100 II Key specifications:
Up to 17MP images (from crops of 20MP Four Thirds CMOS sensor)
24-75mm equivalent F1.7-2.8 zoom
4:3, 3:2, 16:9 and 1:1 aspect ratios using selector switch on lens
4K video at up to 30p
2.76M-dot equiv. electronic viewfinder
1.24M-dot rear touchscreen
Wi-Fi with always-connected Bluetooth

Together with the higher-resolution sensor, the LX100 II gains a lot of smart features that the company has grown since the introduction of the original model. But, perhaps more importantly, it also increases the improved colour rendering Panasonic introduced together with all the GH5, which ought to mean more attractive JPEG output.

The end result is a really engaging enthusiast photographer's camera; not quite pocketable but simple to transport and travel with. The relatively large sensor and glowing lens make it unusually elastic, but competition in the smaller and highly capable Sony RX100 series cameras imply it's not the front-facing camera its predecessors has been back in 2014.

What is new
The LX100 II is the first camera that Panasonic has widely marketed as a'Mark II' version of an current product and that provides an indicator of just how much has changed. There are minor tweaks and improvements that will be significant to a lot of users, but it still shares a lot with its immediate predecessor.

Multi Aspect detector and upgraded processor
The greatest changes are to the sensor and processor. Panasonic's multi-aspect design dates back to 2008's LX3: it uses different crops from its detector to give a variety of aspect ratios that maintain exactly the same diagonal angle of view, meaning that you don't lose your wide-angle capability just because you have switched to 16:9.

The LX100 II uses the same 20MP CMOS detector as the DC-GX9 though the multi-aspect design means you only ever get to use up to some 17MP, 187 mm2 crop of it (the full sensor area of 4/3 is 225mm2). The sensor does not have any anti-aliasing filter, and it will be likely to mean that a slight increase in sharpness at the expense of a greater chance of aliasing (based on how sharp the lens remains).

Regrettably, there is a drawback of the system so you won't get to utilize the entire sensor area, and therefore don't really get the full picture quality possibility of the detector you've paid for. The diagram above shows how small goes rancid though. We have tended to locate the creative opportunities provided by the multi-aspect design (and the instant of its prominently-placed switch) make up for this slight limitation. The LX100 II additionally receives the chip from the GX9, so improved JPEG colour and sharpening in addition to a redesigned menu system.

Another significant change is the addition of a touchscreen (3" in dimension, with 1.24 million dots). It utilizes the identical touchscreen interface which Panasonic has honed over the past eight decades.

The stand-out feature (that Panasonic initiated ) is Touchpad AF, which permits you to place the AF point working with the LCD while your eye is on the finder. Users have the choice of relative positioning (like a trackpad on a laptop) or absolute (touch the specific place where to concentrate ). You cannot, however, limit the busy area to one part of the display, to limit it to a place your finger can reach (or even wherever your nose can't). There is also a touch-friendly, customizable version of the camera's Q.Menu accessible.

The accession of the touchscreen additionally includes five customizable'soft buttons' into the LX100 II, that adds around 10 total customizable buttons. However you use it, though, we suspect many LX100 users will love the ability to choose an AF point much faster compared to old model.

Other changes
The Mark II profits Bluetooth, which enables the camera to stay linked to a intelligent device without demanding too much battery power away from either. Maintaining this link accelerate the procedure for establishing a complete Wi-Fi link for image transfer. As before there is the option to re-process Raw documents from the camera if you want to adjust settings such as color style or white equilibrium before sharing.

And, although the camera body is a game for the first LX100, the Mark II lets you customize more of the buttons, which should make it easier to set up to suit your shooting style.

The transfer to a newer processor sees the LX100 II gain all the additional multi-shot manners that Panasonic has developed since the original camera premiered. This means it offers Post Focus and Focus Stacking manners, aperture and focus bracketing, alongside the Automobile darkening and Sequence Composition features in 4K Photo mode.

Nikon Z6 Camera Review – What’s new and the price

The Nikon Z6 is just one of 2 full-frame mirrorless cameras which Nikon introduced in August of 2018. It's quite similar to the big brother, the Z7, together with the main differences being the detector (24MP vs 46MP) and the drop in settlement that comes along with it. The Z6 also has fewer phase-detect autofocus points (273 vs 493) because of this lower-res sensor. Otherwise, you are getting the same rugged physique, the same (mostly) comfortable controls and access to a small but soon-to-grow collection of Z-mount lenses.

Specs apart, the Z6 is for a very different audience than the Z7. The latter is really for people seeking ultra-high resolution and might also be considering cameras such as the Sony a7R III and also Nikon D850. The Z6, on the other hand, is meant to be be more appealing to those looking to upgrade in the crop-sensor cameras or previous-generation full-frame DSLRs.

The Z6 will ultimately be contrasted to the DSLR sibling, the D750 (that will be getting on in years, but still very competent ). While the two cameras have various designs, they function similarly, with autofocus modes and video being the most crucial differences.

Nikon Z6 Key specifications:
24.5MP full-frame BSI-CMOS sensor
Hybrid autofocus system w/273 phase-detect points
Up to 12 fps burst shooting (Raw + JPEG)
3.69M-dot OLED viewfinder
2.1M-dot tilting touch LCD
OLED top plate display
Single XQD card slot
UHD 4K capture up to 30p
10-bit 4:2:2 N-Log output over HDMI
Up to 100Mbps H.264 8-bit internal video capture
SnapBridge Wi-Fi system with Bluetooth

If those specs seem familiar, it is because they're almost equal to that of those Z7, together with resolution and the amount of AF points function as main differences. You can reap the advantages of the lower resolution sensor when shooting bursts, with a top frame rate of 12 fps (vs 9) along with the capability to capture additional photos per burst. Otherwise, you're getting exactly the exact same design and creations found that the Z6's big brother, which can be significantly more expensive.

The Z6 is marketed body-only for $1999 or with all the Nikkor Z 24-70mm F4 S lens for $2599. If you buy the $249 FTZ (F-to-Z mount) adapter in precisely the exact same moment, Nikon will probably knock $100 from the purchase price.

What's new
While comparing the Z6's specs against the Z7 is nice and most importantly, in fact shoppers are contemplating that the Sony a7 III along with Canon EOS R, both of which can be priced around the $2000 mark. While we were very smitten with all the a7 III, the same was not the case for Canon's first full-frame mirrorless camera. There could be other users who need a full-frame Nikon, but aren't sure whether to find the D750 (that will be quite the deal nowadays ) or even the Z6.

The Z6 and Z7 use the new Z-mount, and it can be a stunning departure in the F-mount that has been in existence for decades. It is a much shallower and wider bracket and its 16mm flange-back space between the mount and the detector usually means that virtually any lens can be adapted on the camera.

The combination of this brief thickness and a 55mm mount diameter (25% wider than the current F-mount) gives the designers lots of space to direct light into the corners of their sensors without being constrained from the mount's throat. Nikon claims that this will let it make lenses with apertures as broad as F0.95 and, honestly, it is already working on you.

Nikon also released an F-to-Z mount adapter that permits the use of F-mount lenses on the newest cameras. This includes a mechanical tether lever built in, enabling full use of AF-S and AF-I lenses. Older AF-D lenses may provide car vulnerability (but no autofocus) along with AI lenses will have full metering. There's no aperture tab for use with'AI' or older lenses, though, or so the camera will not capture a aperture value. On the other hand, elderly pre-AI lenses can mount perfectly and work in stopped-down mode in aperture priority or manual exposure shooting.

Sadly, Nikon states that it will not be discussing the technical details of the bracket with third-parties, preferring for now to safeguard earnings of its own lenses (this is not a surprise, the F mount wasn't open either, and Canon does exactly the same with its EF and RF mounts). So, unlike Micro Four Thirds and Sony E-Mount, third party manufacturers will have to reverse-engineer the Z-mount so as to provide harmonious optics.

New sensor
Underneath the mount is a 24.5MP BSI-CMOS sensor which while'Nikon-designed' is almost surely made by Sony. The detector has 273 PDAF factors and, while not as pronounced on the Z7, striping/banding may be understood in darker tones, restricting dynamic selection, although this seeing this happening in the real world is not likely.

Nikon states that the on-sensor AF system is rated down to -2EV having an F2 lens attached, that can be 1 stop lower than the Z7. If you put the camera in to'low light' mode, it supports light speeds down to -4EV, although the AF speed and refresh speed of the EVF suffer as a outcome.

The Z6 can support continuous shooting at around 5.5 frames per minute if you need updated live view between shots. If you are not attempting to follow actions and do not require live opinion, the Z6's'High+' mode can take even quicker. This mode allows complete autofocus but also locks the exposure settings later taking the first picture. High+ shoots JPEGs and 12-bit Raws in 12 fps or 14-bit Raws at 9 fps.

Given the gap in resolution it is not surprising the Z6 has a deeper buffer than the Z7. Having said that, the camera buffer does fill up quickly for a camera in this class. The buffer is essentially bottomless should you fall down to'normal' continuous high style. Considering that Nikon's very own D500 and D850 have bottomless buffers at any given rate, we have to wonder if corners were cut the Z6 and Z7. Also notice that, despite quick XQD cards, then it may take some time to clean the buffer and return to shooting at full speed.

Body and handling
Even the Nikon Z6 is extremely well-built and includes a modern style that does not stray too far away from its DSLR origins. It's roughly equal in size to the Canon EOS R and Sony a7 III and lighter and smaller compared to the Nikon D750 (but not with a lot). The Z6's build quality is top-notch (and others concur ), and whose lasting, weather-sealed body remains surprisingly light in the hand.

The Z6 has an extremely great grip which places most controllers in each reach of the fingers, even though it's a small stretch to achieve the customizable buttons which sit against the lens mount. It is rather easy to wind up resting your thumb on the AF-point joystick, which is fantastic if you would like to correct the AF point but not-so-great if you accidentally bump it and get kicked out of playback mode. Another thing which may bother large-handed people is that there's no real support for the pinky finger. A battery grip that will extend the grip is still in evolution, but isn't yet offered.

SiOnyx Aurora Night Vision Camera review amaze at night

As someone who regularly photographs the nighttime sky and nocturnal arenas, I had been fascinated by the newly declared SiOnyx Aurora IR Night Vision Camera. The Aurora is a compact camera built to take stills and video from color under low light conditions, along with providing night vision capability.

The camera is currently marketed for outdoor fans (e.g., boaters, fishermen, hunters, walkers ) who must see from the dark and may want to catch their nocturnal pursuits. In a retail cost of $799 it is more than an impulse purchase, but it promises some impressive capacities. Being an aurora photographer, I had been considering its performance shooting the Northern Lights so that I took the Aurora into Yellowknife, Canada.

SiOnyx Aurora Night Vision Key specifications:
'Ultra-low-light' 1"-type CMOS sensor
1280x720 resolution (stills and video)
16mm (47mm equiv) lens
Three shooting modes: Night (F1.4), Twilight (F2.0), and Day (F5.6)
Image stabilization
Video frame rates from 7.5 to 60 fps
OLED viewfinder
IP67 water resistant

Night Vision
The SiOnyx Aurora includes a one-inch-type ultra light light CMOS sensor--sensitive to both visible and infrared light --capable of shooting stills and video from either color or black, though it's restricted to shooting stills and video in 1280x720 resolution.

This resolution might appear low by today's standards but it is reasonable for a night vision camera. In regular photography pixel size has very little effect on picture quality, besides that little pixels give more detail. On the other hand, the very small advantage that big pixels can have can be important in extreme low-light circumstances, which means a night vision camera is one of the few instances where bigger pixels offer you a recognizable benefit.

Resolution and pixel dimensions aside, the moment I picked up the Aurora it became evident that its compact dimensions and light weight were going to put this camera in its category. The water-resistant Aurora is 11.7 cm (4.6") long and weighs just 227 g (8 ounces ) so it fits easily in a jacket pocket. Its durability and the fact that a tripod isn't required to take at night means that the Aurora will always be within reach and ready to shoot.

The daytime setting performs as expected although the twilight mode works well just for a short window of time. My opinion was that I had to shift the dial into the night setting long before dusk was over. The Night scene mode is easily the most useful (and enjoyable ) because at the setting that the camera captures light at wavelengths way beyond what the human eye can see. Specifically, its wavelength range extends from blue (400 nm) to infrared (1,100 nm). In comparison, the human eye is able to determine from blue (400 nm) to red (700 nm).

Point, Focus, and Shoot in the Dark
The advantages of the Aurora for hunting, fishing, and other outdoor enthusiasts is extremely apparent, however I wanted to determine how useful it is to catch video of those Northern Lights. Since most of the time the Northern Lights move slowly, time-lapse photography together with exposures of several seconds is the best technique to capture them. That waywe make to capture more light with extended exposures and we get to compress (or accelerate ) time by enjoying the frames at a higher speed than those where they have been taken.

But time-lapse photography might not be the ideal technique to catch a substorm: the sudden brightening and increased motion of auroral arcs that can last for tens of minutes. Throughout a substorm the lower end of an aurora curtain is able to move at speeds exceeding 5 km/s and look motion-blurred at time-lapse sequences. The greater frame rate of video works better to capture the substorm movement, but also the shorter exposure for each frame results in lower signal-to-noise ratios and lower image quality.

I set the camera to the Night Color style, the frame rate for 30p, and set focus on infinity. Once a substorm began all I needed to do is to take the camera from my pocket, turn it on, and then press record.

The SiOnyx Aurora sparks JPEG stills and MOV (H.264) video files with audio. Unless otherwise noted, pictures in this content are frames from movies files. To evaluate the quality of a JPEG using all the quality of a video frame, I shot a still in Color Night mode (F1.4) with the exposure of 1/30 sec in ISO 20,000 and when compared with a frame of a video of the same scene shot in Color Night mode (F1.4) at 30p. I can only assume that the chosen ISO (the Aurora always functions in Auto ISO) has been 20,000 too.

The video frame looks cleaner and the edges look slightly sharper but also the shadows are trimmed. This may be the end result of further image processing and video compression. 1 definite advantage of shooting stills is the capability of taking exposures as long as 1.5 minutes.

Kodak Scanza film scanner review tiny but too expensive

The Kodak Scanza is also a easy, non-professional picture scanner. It communicates out the Kodak logo, however, does not have any affiliation with all Kodak Alaris, the firm bringing Kodak T-Max P3200 and Ektachrome.

Kodak Scanza film scanner Key features :
Tilting 3.5" LCD
SD card slot
Video out, HDMI and USB connectivity
Works with: 35mm, 126, 110, Super 8 and 8mm formats

What is included
Opening the box you're greeted with HDMI, USB and video out cables, an AC adapter, user guide, the scanner (in bubble wrap below), a toothbrush shaped face cleaner along with a handful of plastic film holders. Pretty much everything is plastic and feels a little cheap in its construction quality.

Format compatibility
Concerning picture format versatility, the Scanza is... okay. There is no choice for medium format, even though you can scan 35mm, 110, and 126 formats as well as 8mm/Super 8. The 8mm/Super 8 choice is misleading, though. This isn't for scanning a whole reel of 8mm film, that is specially for scanning individual frames of 8mm or Super 8 slides.

In use
The greatest thing the Scanza has going for it is ease-of-use. Even in case you've never watched movie before, you may expect to be ready to go in around 10 minutes.

To run it, plug into the energy (the scanner uses a widely accessible micro-USB into USB cable for electricity ) either to an AC socket or your computer, add an SD card (that is where scans are stored ), press the power button, then select your film form, load the holder by means of your picture, insert it and then press the capture button. Done. Scanning takes just a couple of seconds per negative/slide.

If you are plugged in to the wall and the 3.5" LCD feels too little to view your pictures, don't worry: Along with the Micro-USB, you have Video-out and HDMI-mini ports (cables included to either ) so that you are able to view your scans onto a TV or monitor screen. This extra connectivity feels like a bit of an unnecessary attribute, but I'm not going to rely from the Scanza because connecting it to your TV reminded me of employing a slide projector and that's the very Kodak thing relating to this item.

The scanner is 14MP however provides a 22MP scan option that interpolates the images along with ups the resolution out of 4320x2880 pixels to 5728x3824 pixels. In use, we discovered the 22MP mode entirely unnecessary. (Prosumer scanners such as the Nikon CoolScan 9000 along with Epson V-series adapt TIFF and DNG workflows, giving your film scans a lot of editing flexibility). Also, the scanning region finishes up slightly cropping your photographs, largely horizontally - in case you're a perfectionist, this might disturb you.

When scanning you've got the choice to perform color adjustments including Brightness, Red, Green, and Blue levels, according to a random scale of -3 to +3. In analyzing, only +1/-1 on at least one of these scales has been too extreme a switch to be used effectively. Unless your movie is severely expired and has a significant color shift, I would avoid these configurations to keep your scans as precise as you can.

Bottom Line
This isn't a bad solution, it is just an overpriced one to exactly what it really is. For similar cash, you can invest in a decent flatbed scanner with film trays - like the Epson V550 - which provides higher-quality scans and increased flexibility, but in the cost of speed and ease-of-use.

For those simply wishing to make digital copies of decades of photos, the Scanza is a decent alternative. But we have difficulty thinking it's much better than this comparable option with no Kodak label, priced half as much.

Canon EOS R short review and what is the cost?

The Canon EOS R is your first full-frame mirrorless camera to utilize the new RF mount. It is constructed around the exact same 30 megapixel Dual Pixel CMOS detector since 2016's EOS 5D Mark IV however is designed for a fresh series of RF lenses. Canon says that the shorter RF lens mount will enable them to look better or more compact lenses whenever they can for the current EF bracket.

With the EOS R, you're, in essence, getting image and video quality from the 5D Mark IV at around the price point of the 6D Mark II having a healthy dose of control philosophy from both of these cameras as well as the EOS M series. Unfortunately, while it is capable of fantastic image quality, design and ergonomics are a mixed bag and the EOS R video capabilities lag behind the competition substantially

Canon EOS R Key Specifications:
30MP full-frame sensor with Dual Pixel autofocus
3.69M dot OLED viewfinder
Fully articulated rear LCD
Autofocus rated down to -6EV (with F1.2 lens)
Up to 8 fps shooting (5 fps with continuous AF, 3 fps 'Tracking Priority mode')
UHD 4K 30p video from a 1.8x crop of the sensor
Canon Log (10-bit 4:2:2 over HDMI or 8-bit 4:2:0 internal)
USB charging (with some chargers)

The EOS R has been announced less than two weeks after Nikon's Z7, which is Nikon's initial full-frame mirrorless camera and can also be designed around a brand new mount. Where Nikon creates a huge deal about how immediately familiar the Z7 is going to be to existing Nikon shooters, Canon is incorporating some more radical ergonomic innovations about the EOS R - it handles unlike any existing Canon camera. Let us take a better look at what precisely those innovations are and how they function. The Canon EOS R can be found at a price of approximately $2,299 (#2399 at the united kingdom including the EF mount adapter) or even $ 3,399 with the RF 24-105mm F4L IS lens (Number 3299 in the UK).

The EOS R might not have the most awe-inspiring spec sheet, but as the harbinger of Canon's new RF mount, it's a considerable camera nonetheless. Additionally, it supplies a exceptional packaging of attributes and capability inside Canon's lineup in addition to some unconventional control points.

RF Mount
Canon's new RF bracket retains the original 54mm diameter of the EF mount, also reduces the flange-back distance from 44mm to 20mm. Canon claims that, as we have heard from other manufacturers, this combo of'short and broad' in a lens bracket opens up new chances in regards to design lenses (especially with regard to quicker maximum apertures or wide angle choices ). The new mount also comes with a 12-pin link to allow for quicker communication between the camera and the lens.

Canon claims the new RF bracket was designed with durability in mind as well. The RF bracket should stand until the very same types of abuse which the EF bracket has for years. They have also said there is not any provision for mounting EF-M lenses to any RF-mount bodies.

The new lens designs Canon's launched together with the EOS R have been signs of the potential advantages provided by the RF mount. The 28-70mm F2 L USM, 24-105mm F4 L IS USM, 50mm F1.2 L USM and 35mm F1.8 Macro IS STM are all impressive performers.

In designing each new RF lens, Canon states it believes a trio of variables: compact dimensions, improved optical performance, improved operational specifications. In creating the 28-70mm F2 L USM aimed toward more specialist users, Canon biased toward the latter two variables. With all the 35mm F1.8 Macro, a general objective lens, Canon leaned much more toward compactness. Since the lens system fills out, we hope to continue to understand a vast array of lenses to get a vast array of consumers and use-cases.

In other words, Canon isn't seeing a shift to full-frame mirrorless as solely a means of generating smaller general systems. It is more about what the system can offer regarding optics, features and operation, as well as fitting different mixtures to various users and uses.

M-Fn Bar
The M-Fn Bar is a completely new management stage for Canon cameras. It offers no visible feedback, however, permits for either swiping and / or tapping to control a set of functions that are customizable. We're not entirely sold on the concept, which is reminiscent of Apple's Touchbar, but many users might find it helpful. We'll enter the specifics of its functions and usage on the following page.

Debuting initial on Canon's lower-end EOS M50, the C-Raw format has made its way into the EOS R. The C-Raw documents are approximately 40% smaller than regular Canon Raw files, and you won't detect any degradation in quality till you push your documents by many stops. Unless you're doing absolutely crucial function, we would recommend leaving C-Raw enabled to save disk and memory card area.

Upgraded video
As you would expect in the camera published in 2018, the EOS R is now effective at capturing 4K video. Dig in, however, and you'll find it's not the most exciting implementation. It carries an unfortunate 1.83x harvest, making it tough to shoot wide-angle footage, and then tops out at 30fps with a few dramatic rolling paper artifacts. On the other hand, Double Pixel AF can be found through recording.

For those seeking to bring the EOS R into some higher-end video set up, it may output 10-bit 4:2:2 C-Log footage over HDMI. You can also catch C-Log footage internally, however with 8-bit 4:2:0 documents.

Fujifilm announces new firmware for GFX 50S, X-T3, and X-H1

Fujifilm has announced the imminent arrival of new firmware updates for its GFX 50S, X-T3, and X-H1 mirrorless cameras. The updates bring improved in-body image stabilization on the X-H1, 4K HDR along with F-Log video for the X-T3, plus a brand new 35mm format mode for its GFX 50S.

The new firmware for the Fujifilm GFX 50S, model 3.30, is due from the end of November 2018. Fujifilm says the upgrade adds support for a new 35mm Format Mode when using GF- and - H-mount adapters, which crops the middle of the detector to a size of 36mm x 24mm, also a makes for a 30.5-megapixel picture. The update also depends on the eye-sensor responsiveness, adds simultaneous deletion of JPEG files, and supports colour alterations for your EVF and LCD displays.

The newest firmware for your Fujifilm X-T3 is version 2.00. Set to be published at December 2018, the firmware update brings 4K HDR recording Hybrid Log Gamma (HLG). HLG footage must simplify the capture of HDR content and should improve post-production capabilities. Fujifilm notes it is just compatible with the camera 10-bit H.265 (HEVC) mode, and works best if viewed on screens and TVs using HLG format service.

Firmware version 2.00 for your X-T3 additionally brings simultaneous output of Film Simulation and F-Log footage, meaning it's possible to capture F-Log while watching the Film Simulation image in an external monitor. Fujifilm says that this capability is not harmonious with'59.94P/50P, FHD high speed record, 4K interframe NR, along with HDMI output info display mode.'

Continuing on, the X-T3 will currently be harmonious with All-Intra and maximum bitrate recording with H.264up to the highest bitrate of 400Mbps. Also, movie files will no longer be split when the file reaches 4GB so long as it is being saved to a SD card with 64GB of storage. Additionally, it is now possible to display colour temperature onto the EVF and LCD screens in Kelvin.

Last is the Fujifilm X-H1, which is set to receive firmware version 2.00 in December 2018. The defining aspect of this firmware update is the enhanced picture stabilization. Fujifilm says in-body image stabilization will work with optical image stabilization in lenses to enhance overall stability.

'With an XF or XC optical image stabilized lens, in-body image stabilization worked together with 3 axis (up and down / optical axis spinning ). The remaining 2 axis (left and right pitch, yaw angle) was commanded by optical image stabilization in the lens" says Fujifilm in its media release." [Firmware version 2.00] includes a new picture stabilization algorithm to allow the in-body picture insertion to work in each of 5 axis and to achieve greater than five-stops (around the equivalent of 5.5 stops) picture stabilization by combined control based on the types of frequency and blur amount."

Fujifilm notes lenses must also be updated to their most recent firmware to find this compatibility. You may find a full list of up-to-date lens firmware on Fujifilm's web site.

Insta360 One X Short review, and what is the price?

The One X is Insta360's most current consumer 360-degree camera and can be controlled through an iPhone or Android smartphoneand retails for about $400. The major news about the brand new version is the 5.7K resolution which means you can reframe the spherical footage and then extract a standard 16:9 movie with good resolution after capture. During recording you do not have to worry where the camera is targeted at.

For smooth movement in action movies or slow-motion effects you could also opt to capture 4K footage 50fps or even 3K movie in 100fps. In picture mode the camera also captures 18MP still pictures.

The One X also comes with a better version of Insta360's FlowState stabilization and a new TimeShift feature that allows users adjust the speed of distinct elements of a clip to put the attention on key minutes, using either slow-motion or hyperlapse effects. We've had the opportunity to perform a few days using the new Insta360 One X. Read this guide and find out just how we have on.

Insta360 One X Key specifications:
18 MP still image resolution
5760 x 2880 @30fps, 3840 x 1920 @50fps, 3008 x 1504 @100fps video resolutions
Built-in 6-axis gyroscopic stabilization
Exposure compensation and manual control over shutter speed and ISO
Weight with battery: 115g
Dimensions: 115mm x 48mm x 28mm
MicroSD card slot up to 128GB
1200mAh battery, 60 mins run time shooting 5.7K @30FPS or 4K@50FPS video

The One X only contains two buttons, making standalone operation very straightforward. The small button is the power button and used to cycle through shooting settings and modes. The bigger button is the camera and also used for confirmation when browsing the menus that are displayed on a small circular OLED display.

The screen is not always easy to see in bright light however, you can enable a QuickCapture mode which forces up the camera and immediately begins recording once you long-press the shutter. This is a beneficial feature for shooting whilst riding a bike or performing some other activity that demands your full attention.

In the bottom of the gadget is a standard tripod mount that permits you to connect the camera into all sorts of supports and selfie-sticks. Using an adapter, then you can use the 1 X using a GoPro-style bracket, and if you really don't have some other means of support, the flat base allows you to place the camera onto any surface.

The One X connects to cellular devices through WiFi, or, for greater transport rates, through a supplied USB-cable. Via the identical connection you may also trigger and control the camera in the committed mobile program.

The One X can capture 5.7K 360-degree video which allows you to reframe on your phone and pull on a 16:9 1080p standard video at quite good quality. The simplest way to do this from the app is through this Viewfinder attribute.

In Viewfinder manner the 360-degree video is played back on your apparatus. You can then move the telephone just as if you were recording a video in real time. Anything that is visible on the display of your device will be"re-shot" and saved as a new video.

Still images
Even the Insta360 One X will likely be attractive to movie shooters however the camera is capable of shooting 18MP spherical still images. In still picture mode you can trigger HDR mode, configure interval shooting and catch in format. A self-timer is on board as well.

In the app it's possible to see and export images in many formats including complete 360-degree fisheye, miniature crystal and globe ball formats. Below you can view several samples, in original 360-degree format and Tiny Earth or Fish-eye variants.

The camera is capable of generating excellent quality 360-degree picture output that in terms of detail, noise, colour and dynamic range is roughly on the degree of a fantastic smartphone camera. While in certain video clips a few sewing artifacts are only about noticeable, they're like undetectable in many still images, making the camera an interesting and very affordable choice for professional consumers, like home brokers or wedding photographers.