Canon patents a huge, hinged and reversible DSLR LCD

A newly published Canon Japan patent might reveal the future of Canon DSLR LCD screens… and that future is massive and flippable. Originally spotted by Canon Rumors, the patent details a hinged rear LCD that is so big it hides all of the controls on the back of the camera underneath it.

As you can see from the diagrams (or read in the patent itself) the LCD is capable of lifting upward, then reversing, and is specifically designed to avoid obstructing the camera’s viewfinder. This makes it possible to view an image from the uplifted LCD and use the viewfinder during the same session.

While a hinged DSLR rear display is nothing new, Canon’s patent shows a design that would allow for a large and reversible display unlike anything we’ve seen before. In fact, the LCD shown in the patent’s illustrations covers the entire back of the camera, making it necessary to tuck the rear dial and several buttons behind it, though several others are exposed on either side of the viewfinder.

As with every patent, there’s no indication of whether or not Canon has plans to incorporate this design into an upcoming camera, but it’s one of the more curious Canon patents we’ve run across.

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From:: DPreview

Zeiss reveals Milvus 25mm F1.4 lens, the 11th in the manual-focus family

Zeiss has added a new wide-angle lens to its Milvus line of full-frame, manual focus lenses for Nikon and Canon DSLRs. The new Milvus 25mm F1.4 is now the fourth widest lens in the family—which ranges from 15mm to 135mm—and brings the total number to Milvus lenses to 11, four of which boast fast F1.4 apertures.

According to Zeiss, the Milvus 25mm F1.4 is “suitable primarily for landscape and architecture photography, and for journalistic shots and videos” thanks to its fast aperture and a new optical design that uses 15 elements in 13 groups to deliver “high-contrast photos and a harmonious bokeh.” They also claim “hardly any color fringes,” even when you’re shooting with the lens wide-open.

Like the entire Milvus line, the new 25mm F1.4 is manual focus only, and features a robust all-metal housing as well as ‘special seals’ for protection against dust and splashes.

The new Milvus 25mm F1.4 will be available starting November 2nd for 2,400 Euros (including tax) or $2,400 USD. To learn more about this lens or the entire Milvus line, head over to the Zeiss website by clicking here.

Press Release

ZEISS Unveils High-Speed DSLR Lens: ZEISS Milvus 1.4/25

With its new wide-angle focal length, the ZEISS Milvus family now boasts eleven lenses for single-lens reflex cameras, including four focal lengths with a maximum aperture of 1.4, which are perfect for videographers too.

OBERKOCHEN/Germany, 2017-10-18.

The ZEISS Milvus 1.4/25 is the latest focal length to be added to ZEISS’s largest range of lenses for full-frame single-lens reflex cameras. The lens, which was developed for the DSLR systems from Canon and Nikon is suitable primarily for landscape and architecture photography, and for journalistic shots and videos. “The completely new optical design ensures superior performance across the entire image field,” says Christophe Casenave, Product Manager → continue…

From:: DPreview

ZEISS Adds New High-Speed 25mm Lens to Milvus Series

By Daron James

With 11 lenses for single-lens reflex cameras, ZEISS Milvus is a solid option for videographers.

The ZEISS Milvus 25mm f/1.4 is the newest focal length added to the company’s lens range dedicated to full-frame single-lens reflex cameras. Developed for DSLR systems like Canon and Nikon, Milvus lenses feature manual focus control; compatibility with high dynamic range shooting; a silent, continuous aperture; and all metal housing. They come in EF or F mounts.

With the addition of the new 25mm f/1.4, the Milvus line now features 11 focal lengths ranging from 15 to 135mm, including two macros. Four focal lengths—25, 35, 50, and 85mm—have an aperture of f/1.4, making them an ideal option for filmmakers.

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From:: No Film School

The ROV Slider promises cinematic phone, GoPro and DSLR shots at the push of a button

ROV Slider, a new motorized camera slider currently seeking funding on Kickstarter, promises to bring cinematic slider shots to the masses.

The portable little slider handles any camera that weighs under 5lbs / 2.3kg—including smartphones, GoPro, mirrorless cameras and DSLRs—and comes in two variations: ROV Slider and ROV Pro. Here’s a quick video intro to the ROV from Kickstarter:

As you can see, ROV Slider and ROV Pro are both offered in an ‘Everyday’ model with 8in / 20cm of travel, as well as a ‘Traveler’ model with 16in / 40cm of travel. While both are made with unibody CNC milled rails, the Pro version comes in a gunmetal finish, as well.

Common features between the two models include a cordless motor, 24hr battery life, a centered tripod mount, all-terrain foldable legs, and a low-profile iPhone mount. Meanwhile, the Pro version offers a bit more for professionals, including a 1/4-20 ball head and the ability to capture time-lapses with a DSLR.

For motion control purposes, ROV works with two different apps: Rhino Storyteller for smartphones, and ROV Motion for GoPro, mirrorless, and DSLR models. Rhino Storyteller features four modes—Night Lapse, Time-Lapse, Slo-mo, and Video. ROV Motion, meanwhile, offers control of ROV’s ramp, speed, direction, looping, and time-lapses.

ROV Slider is being offered to backers at a special price of $230 USD (compared to the anticipated retail price is $300) while the ROV Pro is available for just $300 USD (anticipated retail price $400). Backers are also given some other options, such as a Content Creator Bundle for $380, an Outdoor Bundle for $440, and an Ultimate Bundle for $480.

To find out more or put down a pledge of your own, head over to the Kickstarter → continue…

From:: DPreview

Shooting with a used DSLR kit that cost me just $80

Cameras and lenses are expensive. Really expensive. Even the cheapest entry-level DSLR kit today costs $500 and upwards. But what if you would buy the cheapest possible used DSLR? A camera that is over 10 years old? How would it stack up against today’s modern cameras? I was curious about this, and decided to find out for myself.

After two weeks of watching classified ads closely, and missing a couple of good bargains because I wasn’t fast enough, I finally managed to purchase a Canon 400D(also known as Rebel XTi) with a battery grip and a Canon 50mm f1.8 II lens on it. All this for only $80. It seemed like a great deal to me. It even came with a 2GB CF card!

I took the camera for a long walk the same day I bought it, and to summarize my experience: I was amazed by how good it was!

The sensor outputs 10 megapixel photos, meaning that they measure roughly 3900×2600 pixels. This is more than enough for posting on social media or viewing photos on a computer screen. And what amazed me even more, was that with a fairly good lens, which the Canon 50mm F1.8 is, these pixels get utilized very well. A 100% crop looks very crisp and sharp in most cases.

See the video above for image samples and 100% crop examples.

The only major downside with using an 11-year-old camera is that the dynamic range in the sensor falls far short of my modern Sony A7. If you do not nail the exposure really well when you take the photo, you have far less latitude to correct it later. With my modern cameras I just shoot everything slightly underexposed, and lift the exposure → continue…

From:: DPreview

The camera I almost bought (again and again): The Canon PowerShot G5

At this point in my life, I could probably write a series of articles on cameras that I considered buying, almost bought, or actually did buy before reconsidering and returning them. Of all of the cameras that would make that list, the Canon PowerShot G5 is probably the model that I almost bought more times than any other.

Released in 2003, the PowerShot G5 was in that respect a companion model to the EOS 10D – my first personal DSLR. The G-series was traditionally marketed at enthusiasts and semi-pros, with the idea being that while most photographers couldn’t afford or quite justify a DSLR, cameras like the G5 could deliver a similar user experience, with comparatively good image quality and limited system cross-compatibility, for less money.

The thinking was that photographers making the expensive transition away from film and towards digital, might use the G-series as an affordable halfway point before investing fully in a DSLR. Conversely, professionals or well-heeled amateurs that owned a 10D or EOS-1D-series DSLR might consider a camera like the G5 as a second body, for backup and travel.

To court both sets of customers, Canon made sure that the G5 looked and worked broadly like the EOS-series DSLRs that it was marketed alongside. It was black, for one thing, which immediately made it look more ‘professional’ than the silvery G2 and G3 that proceeded it. It offered Raw mode, and was powered by the same ubiquitous BP-511 battery as the 10D and 300D. The G5 also featured the familiar EOS exposure mode dial and front control dial of the EOS-series, and it even had a hot shoe, for full E-TTL compatibility with Canon’s range of Speedlites.

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From:: DPreview

Came-TV Prophet and Spry – 2 New Multi-Function Gimbals

By Fabian Chaundy

The new Came-TV Prophet and Spry gimbals for small cameras and smartphones feature removable heads for a variety of setups.

Back in April at NAB, Came-TV announced a couple of gimbals that would be ready to ship later in the year. Now that they are finally shipping, let’s take a closer look!

Came-TV Prophet

The Came-TV Prophet is a 3-axis gimbal designed for DSLR and mirrorless cameras. In terms of design, it is the successor to the Came-TV Argo.

Unlike the Argo, the Prophet comes a with a single-handed grip as standard. However, thanks to the interchangeable design of the gimbal head, you can purchase additional mounts as necessary, such as the two-handed handlebar, the Orbit-Two Ring or the Tessera handle, which adds a 4th axis of stabilisation thanks to its spring-loaded mechanism.

Came-TV Prophet

The Came-TV Prophet in its various confirurations.

The motors on the Prophet support full 360° of movement, and the pan motor on the side can be configured on either side of the camera for maximum flexibility. In terms of weight, the single-handed version of the Prophet comes in at 1.65kg, with a maximum payload of 3kg, or 6.6lb.

When it comes to power, Came-TV has designed the gimbal to work with Sony BP-style batteries, and can run up to 10 hours on a single charge. If you want to get additional batteries, be aware that the originals from Sony can get quite expensive and, although there are also cheaper 3rd-party options, they are still more pricey than the more commonly-available NP-style.

The Came-TV gimbal is also compatible with the Manfrotto 501PL quick-release plate system, making it easier to → continue…

From:: Cinema 5d

Perspectives on Filmmaking, Episode 3 – How Producing Content is Being Affected by Modern Tools

By Nino Leitner

cinema5D together with Olympus Europe is proud to present the 3nd out of six episodes of “Perspectives on Filmmaking”. A discussion between leading filmmakers who endorse working with compact tools in their film productions.

In case you missed the first episode, please watch it by clicking here, and the 2nd one here!

In this 3rd episode of “Perspectives on Filmmaking”, we talk about how some manufacturers seem to “neglect” their “small cinematic camera” market completely, because they were almost created by accident in the early days, 8 or 9 years ago.

We go on to talk about shooting music videos – and the way of making them work financially as there usually isn’t a lot of budget. Florian Lein talks about shooting an improvised music video for the major artist Macklemore.

Noaz Deshe mentions how the challenges, restrictions and accidents – being technically or otherwise – are actually gifts for the final product. He likes to work the tools until they break apart, to find their limitations. The journalistic piece he saw shot on a DSLR when they came out impressed him, because he saw a kind of access that he didn’t see before because of the look and the size of the tool.


Dirk Wilutzky mentions how he was preparing big Hollywood films like Mission: Impossible 3 and similar projects, but then found it a more interesting challenge to work on smaller projects as a producer – and he really always wanted to work as a director. Then he started with very small projects because of the availability of small tools, and he says there are no limits to filmmaking anymore.

I posed the question of the “cinema form”, whether it’s something everyone is only obsessing about? Dirk agrees that right → continue…

From:: Cinema 5d

The Nikon D850 is the best camera DxOMark has ever tested, first to hit score of 100

Forget all of those DxOMark Mobile scores, it’s time to talk about “real” cameras again. DxOMark just completed their review of the Nikon D850 and, not entirely surprising, it is officially the best camera DxOMark has ever tested. In fact, it’s the first camera ever to reach a score of 100, pushing the Sony a7R II into second place with its score of 98.

As it stands now, the camera rankings put the Nikon D850 and its predecessor, the D810, in the number 1 and 3 spots.

While the D850 isn’t the best camera DxO has tested across the board, it nevertheless put in top notch performance in every category. “The D850’s key strengths are its outstanding color and dynamic range at base ISO, where it again ranks as the number one among all commercially available cameras we’ve tested for these attributes,” explains DxOMark. If it falls even slightly short in any regard, it’s in the low-light ISO category where its higher resolution starts to sting.

That said, you can’t help but go wide-eyed reading DxOMark’s conclusion. As they say, this camera is “in a class of its own for image quality.”:

The introduction of the first BSI sensor in a full-frame Nikon DSLR with a super-high 45.7Mp resolution puts the Nikon D850’s image quality on par with, and often better than, medium-format cameras. The first DSLR to hit 100 points — rather apt for Nikon’s hundredth anniversary year — puts the Nikon D850 in a class of its own for image quality. At base ISO, it’s unrivaled for color in the DSLR class, and its headline dynamic range score is outstanding, too.

To read the full conclusion—the full review, for that matter—and see how the D850 compares to the → continue…

From:: DPreview

Nikon D850 vs everything

By Andrew Reid (EOSHD)

Comment on this article at the EOSHD Forum

Comment on the article Dinosaur or T-rex? The D850 is a dinosaur but thankfully not a ridiculous feathered one. If this is the way DSLRs go extinct then they can go extinct with their heads held high. The image quality in full frame 4K mode is truly incredible, the best I’ve yet seen from any DSLR since the Canon 1D C. I don’t know how it is even possible to do such a clean, detailed image from a 46MP sensor without a full pixel readout. Whatever the method, Nikon (or is it Sony) have delivered a real technical feat here. …

The post Nikon D850 vs everything appeared first on EOSHD.

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From:: EosHD

Angelbird Ups Its Game with SD, CFast and SSD

By Fabian Chaundy

We talk to Roman from Angelbird at IBC 2017, where he told us all about their focus on the creative industries.

Flash memory storage manufacturer Angelbird is more focused than ever on audio and video. Since NAB, their SD cards have proven very popular, with the company now serving the DSLR, video and audio pro market with high speed and reliability. Unlike other manufacturers, Angelbird doesn’t produce any small-capacity or low-speed cards, as these products are already served by other companies in an already saturated market. Instead, Angelbird wants to dedicate the amount of time and resources required for adequate customer support, which can only be achieved by serving the smaller customer base that this more exclusive line of products caters to.

What this means is that their SD cards are designed to handle transfer speeds of up to 260MB/s and adhere to the V90 standard, meaning they are capable of consistent capture of all the data that’s output by cameras that support SD cards.

In the CFast world, Angelbird has updated its portfolio to a maximum capacity of 512GB. In combination to transfer speeds of up to 570MB/s, this means longer recording times even in Raw.

In terms of SSD drives, Angelbird now offers up to 4TB capacity in a 2.5” enclosure. The new AV PRO XT drive is specially suited for the new Blackmagic Design V-mount Raw recorder, with design details such as grab handles and sticker labels that make the drive ideal for quick-swap production work.

Roman also tells us of the collaboration with German company basiCColor, who specialises in imaging and calibration. Angelbird cards now include a colour chart that allows you to create a profile for your camera, which you then can use in Photoshop and Lightroom via the basiCColor software.

Angelbird is certainly becoming a bigger player in storage → continue…

From:: Cinema 5d

From Jag35 to YouTuber – with Jehu Garcia – ON THE GO – Episode 70

By Fabian Chaundy

Jehu Garcia

In this episode of ON THE GO we talk to Jehu Garcia, the man behind the DSLR accessory company Jag35.

Jehu Garcia started out making 35mm adapter for camcorders at a time when the industry was on the verge of booming significantly. Then came the Canon 5D Mark II, and it really changed the game for everyone.

Jehu tells us how he and Jag35 got a start making their own gear, motivated by the desire to make their footage look more cinematic. His company Jag35 then started focusing on making accessories for the new wave of video-capable DSLRs, and enjoyed a good run for a few years before having to face the multitude of copycat manufacturers coming from the far East. Not only that, but Jehu also faced the difficult situation of downsizing Jag35, a company that at that point consisted mostly of good friends and family.

Jehu has since transitioned to running a very successful YouTube channel of now over 100K subscribers. He tells us how persistence is the key in the struggle to make money doing what you love.

His desire to run a YouTube channel about new environmental technologies such as electric cars and energy came from a deep desire to focus on content creation and storytelling, which took priority over the technical prowess of creating a perfect image. He even says with pride that right now, his camera is set completely to Auto (gasp!).

Make sure you stay tuned for more about Jehu Garcia’s journey in the next episode of cinema5D ON THE GO!

Please visit our sponsors’ websites to keep new episodes of ON THE GO coming!


Blackmagic Design



Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo → continue…

From:: Cinema 5d

The Nikon D850 could be the only DSLR you’ll ever need


Out-of-camera JPEG.
Nikon 70-200mm F2.8E @ 70mm | ISO 125 | 1/2500 sec | F4

Perched on a rock jutting out over Class IV+ rapids on the Deschutes River, I become fully aware that were I to slip and fall, the frothy white waves would toss me around like a cork, I’d probably hit my head on a submerged volcanic rock, fall unconscious and die.

One of the best things about photography (or one of the worst, I suppose, depending on your perspective) is access. Even if you’re not covering the industry, knowing your way around a camera and having a decent portfolio will often afford you opportunities to get up-close and personal with people you’ve never met before, who are doing things you’ve never seen before, in a place you’ve never been before.

The D850 might just be the most well-rounded camera Nikon’s ever made.

In this particular instance, the access came courtesy of Nikon USA. They wanted us to use the D850 so much that they flew me down to Bend, Oregon with a collection of other photographers and journalists, and stuck us all in a variety of disparate scenarios to get a feel for the camera.

From sports to portraits, the D850 seems almost universally capable. Out-of-camera JPEG, cropped slightly to taste.
Nikon 24-120mm F4 @ 50mm | ISO 2200 | F4 | 1/125 sec

And, not being one to back down from a challenge (or maybe I’m just terrible at scheduling), I was booked to photograph a friend’s wedding immediately upon returning to Seattle. I was eager to use the camera outside of the realm of a press trip, especially since its specs seem to indicate that the D850 might just be the most well-rounded camera Nikon’s ever made.

Actually, it → continue…

From:: DPreview