The Sony DSC-RX10 IV is premium superzoom bridge-camera (DSLR-like form factor) with a 24-600mm F2.4-4 equivalent zoom lens and a 20MP 1″-type stacked BSI-CMOS sensor: the same used by the Sony RX100 V. This new sensor brings phase detect autofocus to the RX10 series for the first time, adding the depth-awareness that is important for focusing long lenses. The camera is also faster than its predecessor and can shoot at 24 fps with AF and auto exposure (compared to 5 fps).
The processor is borrowed from the flagship Sony a9, which should mean excellent subject tracking. In short, this camera packs speed, AF ability and lens reach into a convenient package, not to mention 4K video. So is it the most capable all-in-one camera on the market? Read on…
- 20MP 1″-type stacked BSI-CMOS sensor
- 24-600mm equivalent F2.4-4 stabilized zoom lens
- 24 fps burst shooting in JPEG + Raw, with full AF and AE
- 315-point phase-detection autofocus system covers 65% of frame
- Detailed 4K video capture with well-controlled rolling shutter
- High frame rate video capture
- Bluetooth connectivity
- Updated menus
We feel like this camera will appeal to a variety of users including those seeking an all-in-one camera with serious reach for casual shooting, travel or vacationing. But advanced videographers may also find this camera tempting thanks to a laundry list of video features and good quality UHD capture.
Key features compared
The body is almost identical to that of its predecessor, using the same outstanding lens. However the RX10 IV offers a touchscreen that can be used as a touchpad for placing AF points with your eye to the finder or for selecting a point of focus in still or video mode. There are a few other minor differences between the two cameras as well:
There’s a refined ‘Depth from Defocus’ AF system on the G9, which offers 225 selectable points and improvements in both speed and subject tracking. The camera is capable of shooting bursts at 20 fps with continuous autofocus using its electronic shutter (9 fps with mechanical) and 60 fps with single AF (12 fps with mechanical). The buffer allows for up to 50 Raw images to be captured in a single burst.
The G9 has a sturdy metal body that’s sealed against the elements and freezeproof to -10C/+14F. Direct controls include a lockable mode dial with a sub-dial for drive mode, an AF-point selection joystick and function switch for quickly swapping settings, similar to what’s found on some Olympus cameras. The OLED electronic viewfinder is downright enormous, with a maximum magnification of 0.83x equivalent and a resolution of 3.68 million → continue…
The EOS M100 is Canon’s newest entry-level mirrorless ILC model. Despite being appreciably smaller (and cheaper) than its higher-end M5 and M6 siblings, it comes with the same 24MP APS-C sensor equipped with excellent Dual Pixel autofocus. It also has Canon’s latest DIGIC 7 processor, as well as Wi-Fi with NFC and Bluetooth for connectivity.
The M100 is aimed squarely at smartphone photographers looking to get their first ‘real’ camera, and its polished touch-centric control scheme reflects this. It’s small, it’s light, and because of the large APS-C sensor, is almost always capable of better photos than any smartphone.
Appropriately given the target audience, there’s even a dedicated ‘Wireless’ button to make it as easy as possible to get your images from the M100 to the wilds of Facebook and Instagram.
- 24MP APS-C CMOS sensor
- Dual Pixel autofocus for stills and video
- DIGIC 7 processor
- 3″ tilting LCD
- 6fps burst shooting (4fps with continuous AF)
- 1080/60p video with digital IS
- Wi-Fi and NFC with Bluetooth
- 295 shot-per-charge battery live (via CIPA)
Although smartphones have largely decimated the compact camera segment, the EOS M100 is not without competition from other interchangeable lens cameras, all of which offer image quality above and beyond the typical smartphone camera. Users shopping based on price are likely to also consider the Panasonic Lumix GX850, Olympus PEN E-PL8, Fujifilm X-A3 and even the venerable Sony a6000.
|Canon’s color output is a perennial crowd pleaser at the DPR offices. Out-of-camera JPEG. Canon EF 50mm F1.8 STM.
ISO 200 | F5.6 | 1/800 sec
The EOS M100 is among the least intimidating cameras in this group, for new users. It’s got the fewest physical controls, and tapping to focus and manipulate settings on-screen in Auto mode is likely to come naturally to just about anyone who hasn’t been under → continue…
When we got our hands on Chinese camera maker YI’s first mirrorless camera, the YI-M1, we didn’t have a lot of positive things to say. Despite a great sensor, the camera was… unrefined. But the company just released a new firmware version for the M1 that promises to smooth out some of its rougher edges.
Key updates include (much-needed) improved AF speed, the addition of a RAW+JPG shooting option, exposure control in P, A, S and M modes when shooting video, AF/MF control during video capture, and the addition of a histogram in live view while shooting both stills and video.
We’ve updated our review model to the latest firmware and are taking it for another spin to possibly update our review, but in the meantime, check out the release notes below to see what all YI has improved and fixed on the M1 with this newest update.
Firmware Version 3.0-int Update Logs
- Added exposure control in the mode P/A/S/M for video capture
- Added AF/MF control for video capture.
- Added RAW+JPG format for still capture
- Added still image option in Time Lapse
- Added the option to shoot 1-3 images when using the self-timer function with an initial 2 second or 10 second timer settings
- Added a histogram in live view mode for both still and video capture
- Added new focus viewing modes with improved image quality including: 6x, 8x and 10x magnification in MF mode
- Added 2 ways to show the Metering mode in the UI
- Added the user guide (Restoring factory settings to view)
- Added multiple selection of images for deletion.
- Added 2 new options for the display grid
- AE algorithm optimization
- Master Guide template display logic optimized
- Improved AF speed
Fixed some known bugs, and improved the overall stability of the system.
Change the thumbnails in each screen from 9 to 12 images.
The Sony a7R Mark III can shoot UHD 4K video at 24 and 30p using the full width of its image sensor or over-sampled footage using a Super 35 crop. We had a quick moment to shoot sample clips while at a Sony-sponsored shooting event earlier this week in New York City. All the clips were shot hand-held, using the camera’s tracking AF function and the new 24-105mm F4 lens.
The first clip was shot in UHD 4K/24p at the camera’s highest bit rate using the full sensor. You’ll notice the tracking jumps off the subject midway through the clip, only to re-acquire toward the very end. You can download the clip here.
The next clip was shot UHD 4K/30p using the Super 35 crop mode (also hand-held, using tracking). In this mode, the camera shoots using a 5176 x 2924 pixel region and down-samples it to produce highly detailed 3840 x 2160 UHD 4K footage. In theory, this footage should look better than the full frame footage. You can download the clip here.
The final clip above was also shot in UHD 4K/30p, but this time Full Frame for the sake of comparison. You can download it here. We’d expect the difference between the quality of the clips to be exaggerated in lower light, where the Super 35 mode is actually using more of the sensor, even though the full frame mode is taking its footage from a more dispersed area.
For more out-of-camera samples, check out our Sony a7R III sample image gallery.
The two lenses Ricoh has announced today are part of the company’s Star-series line of high-performance lenses, being designed from the ground up for use with higher megapixel DSLR camera bodies.
Let’s start with the HD Pentax-DA* 11-18mm F2.8. Designed for crop-sensor cameras such as the Pentax KP, K70 and K-3 II, it offers an equivalent focal range of 17-27.5mm with a constant F2.8 aperture. Pricing has yet to be disclosed, and you have a bit of a wait if you’re interested in this lens; availability is scheduled for the summer of 2018.
Up next will be of particular interest to Pentax K-1 users. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame image sensors, and is the first new prime lens Ricoh’s announced for the K-1 since that camera was released. To go with the K-1’s rugged design, the FA* 50mm F1.4 comes with all-weather construction, and also a newly developed supersonic direct-drive autofocus motor for both faster and quieter AF operation. The FA* 50mm F1.4’s pricing is also unavailable, though it’s scheduled to be released a little sooner in the spring of 2018.
RICOH ANNOUNCES NEXT-GENERATION, HIGH-PERFORMANCE PENTAX STAR-SERIES LENS LINE
Optimized for super-high-resolution photography with high-megapixel digital SLRs, new Star-series lenses on display at Photo Plus Expo 2017 and Salon de la PHOTO 2017
NEW YORK (Photo Plus Expo 2017, Booth #845), October 26, 2017 — Ricoh Imaging Americas Corporation today announced a new generation of high-performance Star-series lenses optimized for super high-resolution photography and high megapixel digital single-lens reflex (D-SLR) cameras. The first two lenses developed for the new-generation of Star-series quality—the HD PENTAX-D FA★ 50mm F1.4 SDM AW and the HD PENTAX-DA★ 11-18mm F2.8—will be on display as reference products at Photo Plus Expo 2017 at the Javits Convention Center in → continue…
The Sony a7R Mark III is here and we get our hands on one for a few hours while at a press event in New York City. First impressions are positive – The camera’s Eye AF function seems reliable – which we used for quite a few images in this gallery, as well as the lock on AF. Also everything here was shot using the new 24-105mm F4 G OSS lens. We’ll update with more images soon when we get one in the office and can process Raw files.
Tamron just revealed its newest ultra-telephoto zoom. Meet the Tamron 100-400mm F4.5-6.3 Di VC USD (Model A035) for full-frame Canon and Nikon DSLRs—a lens that combines compact, lightweight construction with ‘superior’ image quality and ‘fast and precise AF’, according to Tamron. The lens’ tagline: heavyweight performance in a lightweight lens.
The new lens was revealed this morning, and its claim to fame is its size and weight. At just 39.3 oz., the new 100-400mm lens is the lightest in its class thanks to the use of magnesium allow in ‘key areas’ of the lens barrel. Inside that barrel you’ll find 17 lens elements in 11 groups—including three low dispersion (LD) elements—and Tamron’s high-speed Dual MPU that allows for ‘fast and precise AF’ as well as four stops of stabilization.
Below are some sample photos captured with the new Tamron 100-400 F4.5-6.3 Di VC USD at the racetrack by photographer Takahito Mizutani for Tamron:
The Tamron 100-400mm F4.5-6.3 Di VC USD will be available starting November 16th, in both Canon and Nikon mounts, for $800. To find out more or see more impressive sample photos, read the full press release below or head over to the Tamron website.
100-400mm F/4.5-6.3 Di VC USD (Model A035)
Tamron announces the launch of a new ultra-telephoto zoom lens with fast and precise AF, superior image quality and a lightweight, compact design
October 26, 2017, Commack, New York— Tamron USA, Inc. , announces the launch of a new ultra-telephoto zoom lens, 100-400mm F/4.5-6.3 Di VC USD (Model A035), for full-frame Canon and Nikon DSLR cameras. The Model A035 delivers fast and precise AF performance and consistently powerful VC (Vibration Compensation) 4 stops*1 benefits thanks to the high-speed Dual MPU (Micro-Processing Unit) control system that is found in the latest Tamron lens models. The → continue…
The a7R III is Sony’s latest high resolution camera, which carries over many of the improvements found on the company’s flagship a9. The 42.4MP sensor itself hasn’t changed from the Mark II, but virtually everything else wired into it has. This allows for faster burst shooting, improved autofocus and higher quality 4K video. Some important user interface and ergonomic changes, inspired by the a9, have also made the transition.
Same sensor, better performance
The a7R III uses the same full-frame 42.MP BSI CMOS sensor as its predecessor, though improved readout circuitry lowers the already low read noise, improving dynamic range.
Sony promises a slight improvement in rolling shutter, but not to the level as the a9, so the a7R III didn’t earn the ‘Anti-distortion shutter’ designation.
While the hybrid autofocus continues to offer 399 phase-detect points, there are now 425 contrast-detect points, up from 25 on the a7R II.
From a9 (hardware)
Several items found on the body a9 have thankfully migrated to the a7R III. They include its brilliant 3.69M-dot OLED EVF with incredible contrast and resolution, a joystick for selecting an AF point, an AF-On button and a flash sync port. (The a7R III flash sync speed is 1/250 sec.). Also added is the a9’s ‘C3’ button to the left of the ‘Menu’ button on the camera’s back, and the ability to assign a button to ‘Protect/Rate’ in Playback. This should make it much easier to quickly select images from bursts in camera. Bursts can even be grouped during playback for faster image viewing and selection.
The rear thumb dial on the back plate of the camera has been updated as well from the Mark II to be heftier, with better haptic → continue…
Hasselblad has released firmware update 1.19 for the X1D and H6D, adding new support and settings to the systems, as well as custom buttons and the ability to create a new folder. Notably, the firmware update brings support for V System lenses via the CF Adapter for the H6D, and it makes the X1D overall “more user friendly and customizable” by adding features like Touch-pad selection of the AF point.
You can read the changelogs for both firmware updates below.
X1D Firmware Update
The update for the X1D-50c includes the following new features:
- Touch-pad selection of AF point
- New setting: Live view in EVF only
- Custom buttons
- New setting: Max aperture (Lens bokeh)
- Create new folder
- Toggle overlay in Video Live View with display button
The update for the H6D-50c & H6D-100c includes the following new features:
- Support for CF adapter
- Grip button lock
- Custom buttons (more functions)
- Create new folder
- Toggle overlay in Video Live View with display button
The Fujifilm X-E3 is a 24MP mid-level APS-C mirrorless camera, designed as a smaller, more touchscreen-driven sister model to the SLR-like X-T20.
In terms of their internal hardware and specifications, the two cameras are very similar, but the X-E3 relies more heavily on its touch panel for moment-to-moment operation, as well as retaining a more rangefinder-like form factor.
It’s slightly smaller than the previous X-E models, with the removal of the four-way controller and built-in flash allowing the body to be made a little lighter and more compact. A clip-on flash is included in the box, but it’s a simple affair with no tilt or swivel capability to compensate for the decision to make it a separate component.
- 24MP APS-C sensor with X-Trans color filter
- Improved AF tracking
- Wi-Fi with Bluetooth for constant connection to a smartphone
- Shutter speed and exposure comp dials
- Twin clickable command dials
- AF Joystick
- 4K (UHD) video at 30, 25, 24 and 23.97p
- USB Charging
The more advanced use of the touchscreen, with directional swipes of the finger replacing the role of the four-way controller, pinch to zoom in playback and the option to use the screen as an AF touchpad when the camera’s to your eye doesn’t come at the expense of physical controls for all the main exposure settings.
The X-E3 also becomes the first Fujifilm model to gain Bluetooth, which establishes a full-time connection between the camera and a smartphone, allowing instant transfer of images as you shoot them. [or faster re-connection of Wi-Fi if you’re just choosing to send selected images]
The company also says it has improved its AF Tracking algorithm so that it can track smaller and faster subjects. Fujifilm say this improved algorithm will also come to the X-T2, X-T20, X100F and X-Pro2 in fimrware updates in November and December 2017.
What’s it like to use D850 as a video camera?
|Despite there being a mirror between the sensor and the thing you’re trying to film, the D850 is a pretty capable video camera|
SLRs weren’t really designed for video but, thanks to the pioneering work of the Canon 5D Mark II, it’s increasingly expected to be a feature they offer. Nikon has struggled more than its big rival in this respect, not helped by a reliance on contrast detect AF and a lens mount designed around the assumption that you’d never need to change aperture while taking a shot. It’s also been somewhat held back by not having a camcorder or broadcast equipment division to lean on during the development process.
Despite all these hurdles, the D850 is the company’s most capable video camera yet, with 4K capture taken from the full width of the sensor. But how videographer-friendly is accessing this capability? And, just as importantly for this do-everything super camera, what’s it like to use for stills shooters, such as wedding photographers and photojournalists who’re increasingly being asked to capture clips as well as stills?
Beyond the headline specs: 4K UHD capture from the full sensor width or 1.5x crop and slow mo 1080 from 120 fps capture, Nikon has added a host of features to make video capture easier.
The most obvious of these features is the addition of focus peaking to help indicate the plane of focus as you shoot. As is fairly common, there are three settings for peaking intensity and a choice of four colors. In addition, there’s a zebra-style highlight warning for setting exposure. But, as we’ll see, having a feature and having it well implemented are not always the same thing.