Articles: Digital Photography Review (dpreview.com)
All articles from Digital Photography Review
Pentax week continues! In this video, Chris takes us for a ride on the wayback machine to look at the most important Pentax cameras in history.
Have your own favorite Pentax model? Tell us in the comments.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Canon USA has announced a successful lawsuit against two eBay sellers who were allegedly peddling counterfeit 'Canon' batteries. The camera company had filed a complaint against the defendants in October 2019, claiming the sellers were using its trademarks and that doing so could 'mislead the public as to the source and authenticity' of the products, potentially to their peril.
The legal victory took place on December 12, 2019, in the US District Court for the Eastern District of Pennsylvania. According to Canon, the defendants in the case were barred from 'infringing and counterfeiting the valuable Canon trademarks.' The sellers will also be required to pay Canon a 'significant amount of money,' according to the camera company.
Below is a copy of the court documents, obtained by PetaPixel:
Counterfeit batteries put both the operator and their camera at risk, Canon explains on its website. These products may be poorly made and prone to overheating; they may also offer lackluster performance when compared to the real thing, resulting in frequent recharging and shorter lifetimes. Signs of a counterfeit battery include lack of an anti-hologram sticker on the bottom, modifications to the company's logo and an inability to communicate with the camera.
Fotodiox has launched its new Vizelex Cine ND Throttle Fusion Smart AF lens adapter for connecting Canon EF lenses to Fuji G Mount GFX mirrorless cameras. The adapter features integrated Fusion tech for using autofocus and other automated functions, as well as a built-in variable neutral density filter with 1 to 8 stops (ND2-256).
Fotodiox says users may notice vignetting when the adapter is used with certain Canon EF lenses; for these instances, the product features a switch for changing from medium format to 35mm mode. As well, the adapter has a switch for directly toggling from aperture priority to program mode. Firmware updates are delivered over micro USB.
Other features include an all-metal design, the promise of high-precision construction, chrome-plated brass mounts and a geared rotating ring for adjusting the ND filter. The adapter is available now from Amazon, B&H Photo and Adorama for $550.
Sony has released minor firmware updates for its a9 II camera system, as well as its 24mm F1.4 GM and 135 F1.8 GM lenses.
For the a9 II, firmware version 1.01 improves the FTP transfer functionality to speed up how soon after shooting photos the images can be transferred. Additionally, the firmware update corrects a condition where the camera can sometimes turn off at random times when looking back through Raw images and improves JPEG image quality when shooting under certain, unspecified conditions.
Both the 24mm F1.4 GM and 135mm F1.8 GM receive, via firmware ’02,’ improved aperture response when the lenses are attached to Sony’s a9, a9 II and a7R IV camera systems, as well as the ability to select ‘Focus Priority’ from the ‘Aperture Drive in AF” menu when attached to Sony’s a9 camera system.
You can download firmware version 1.01 for Sony a9 II camera systems, as well as firmware version ’02’ for Sony’s 24mm F1.4 GM and 135mm F1.8 GM lenses for mac OS and Windows computers on Sony’s website. Details and instructions on how to install the firmware can be found on the respective download pages.
Leica has introduced its latest dedicated black and white rangefinder camera, the M10 Monochrom. It uses a new 40MP sensor that Leica says was 'designed from the ground up' to handle black and white photography. The new sensor has lowered the base ISO from 320 to 160, and Leica also claims an improvement in dynamic range.
To go along with its black and white pictures, Leica has removed any hint of color on the camera body. The neutral gray body has no red Leica badge or any scripting on top, giving it a stealthy appearance. The body is just as thin as the other M10 models and has the ISO dial they introduced. It also has the same silent shutter and touchscreen display as the M10-P. Photos can be transmitted via Wi-Fi and Leica's Fotos app.
The M10 Monochrom is now available for $8295.
Official sample photos
Leica Camera Advances its Dedication to the Art of Black & White Photography with the Leica M10 Monochrom
The highly anticipated camera enters a new dimension of innovation in the world of monochrome photography
January 17, 2020 – Leica Camera continues to be a trailblazer in the world of black-and-white photography with the announcement of the new Leica M10 Monochrom. Photographers are now able explore their subjects in vivid tones of monochrome due to the omission of a color filter, resulting in an unparalleled black-and-white photography experience. The newly developed 40-megapixel true black-and-white sensor, new Wi-Fi capabilities and expanded ISO range make room for added creativity with light and contrast, bringing photographers back to the basics with the most up-to-date technology.
Black-and-white photography lends itself to establishing emotional connections between the photographer and subject matter being conveyed. With the absence of color, a photograph conveys intense, vulnerable and timeless messages that speak to the foundation of a scene without the distractions of color.
The ultra-high resolution black-and-white sensor of the M10 Monochrom delivers images with impeccable sharpness and unrivalled resolution of details in all lighting conditions. While reaching these new feats of resolving prowess, the new M10 Monochrom is even more versatile than its black-and-white forebears, with a broadened sensitivity range at both extremes, now achieving ISO 160 to ISO 100,000 – ensuring that its unmatched imaging strengths can be used in new avenues, from the brightest of days to uncovering light in the darkest of nights. Images captured at all ISO settings offer fine-grained rendition of details with a more analog look and feel than a typical color camera set to black-and-white mode. As is the case with all Leica M-Cameras, the new black-and-white sensor pairs perfectly with the full breadth of Leica M-Lenses, showcasing their contrast, resolution and rendition of the finest details. With this combination, photographers can rest assured that the exceptional quality of the monochrome images they capture holds true to the luminance of their subject.
Based on the Leica M10-P, the M10 Monochrom now benefits from a bevy of newfound abilities for the Monochrom line, including a slimmer body, dedicated ISO dial, touchscreen controls, the quietest mechanical shutter of all Leica M rangefinders – analog or digital – and built-in Wi-Fi for wireless connectivity to the Leica FOTOS app on iOS, iPadOS and Android. For the first time in the history of Leica M Monochrom cameras, users can utilize a mobile workflow that gives them direct access to authentic black-and-white images straight from the camera to their favored social media platform – no digital filters required. The FOTOS 2.0 app helps bring Leica users from the decisive moment of taking the picture to the creative moment of processing and sharing the finished photo as seamlessly as possible. This new freedom ensures no boundaries when it comes to capturing and sharing photographs with a Leica camera.
The design of the M10 Monochrom camera body is as loyal to the strict adherence to the black-and-white aesthetic as the image sensor that lives within it. The camera has no Leica red dot logo on the front and all of the usual bold red engravings found on most M cameras have been desaturated to a neutral gray, creating a sleek monochromatic contrast against its bright white engraved numbers. A subtle black-on-black logotype of “Leica M10 Monochrom” on the top plate gives the camera the most minimal branding to avoid distractions. The black-and-white design details combined with the newly blacked-out shutter button and lens release make the M10 Monochrom the stealthiest serial production camera yet from Leica, emphasizing its focus on blending into the heart of the action and capturing the decisive moment.
The M10 Monochrom is built to the highest quality standards expected of a Leica M camera, made almost entirely by hand through the passionate labor of experienced specialists in Wetzlar, Germany with the finest materials, ensuring it can bear even the toughest conditions of use in its stride. The new Leica M10 Monochrom promises to be a long-term companion that delivers an unparalleled experience and impeccable image quality, as timeless as the classical black-and-white photos it creates.
The Leica M10 Monochrom is available beginning today for $8,295 at Leica Stores, Boutiques and Dealers.
|The M10 Monochrom is Leica's third mono-only digital rangefinder, but the lower base ISO of the latest camera extends its flexibility.|
The Leica M10 Monochrom is the company's third mono-only rangefinder. It uses an entirely new 40MP sensor, rather than borrowing the 24MP chip from the other M10 models.
We think the Bayer filter array is an amazing creation, producing results that massively outweigh its drawbacks, but there are a few reasons why going without color filters is more than just a gimmick.
Higher detail capture
The obvious benefit of a monochrome sensor is that you don't need to demosaic: each pixel you capture becomes one pixel in your final image. You don't need to interpolate missing color values for each pixel, so you don't need to call on neighboring pixels, so don't experience the slight blurring effect that this has.
The final image will be inherently sharper than most color cameras can achieve (Foveon sensors being the key exception to this).
Higher base ISO
The color filters used on most sensors absorb around 1EV of the light, since each filter has to absorb the two colors it's not allowing to pass through to the sensor (the green filter absorbs the red and blue light, for instance).
|The M10 Monochrom's base ISO of 160 is lower than previous mono cameras but higher than a camera with a color filter array would be.|
This means that the silicon of a monochrome sensor receives around one stop more light at any given exposure. The consequence is that it becomes saturated and clips highlights around one stop earlier, at its lowest amplification setting. The result is that its base ISO tends to be rated one stop higher than a chip with a CFA would be. On the M10 Monochrom, the base ISO is given as 160 (rather than 320 on previous models).
This can be challenging, since it means having to use exposures that are 1EV lower than you'd expect on a color camera. In bright light, this is likely to mean stopping down when you hit the M10's 1/4000th sec maximum shutter speed. But it's worth noting that there isn't any image quality cost to this.
Better tonal quality, ISO for ISO
Usually, reducing exposure by 1EV results in photon shot noise being one stop more visible (this reduction in light capture is the main cause of high ISO images looking noisier).
But, although the M10 Monochrom's base ISO of 160 means using an exposure that's half as bright as the ISO 80 exposure you'd expect to need on a color version, the Monochrom's sensor still experiences the same amount of light: there's no filter stealing half of it.
In other words, you'll get the same tonal quality as a color camera shot at 1EV lower ISO. And, while the higher base ISO presents an exposure challenge in bright light, it means you get tonal quality that's a stop better in low-light situations.
And that's before you consider the fact that all noise will present as luminance noise, rather than the chroma noise that most people find more objectionable. So you get a one stop improvement in noise in low light and the noise that is present is less visually distracting, which means less need to apply detail-degrading noise reduction.
The big unknown with the M10 Monochrom is the specific sensor performance. We've not seen a 40MP full-frame sensor before, so can't yet be sure what its performance will be like. The 24MP sensor used in the existing M10 models is pretty good, but slightly underperforms the standard set by the 24MP sensor in cameras such as the Nikon D750, meaning it's even further behind the newer chip used by the likes of Nikon, Panasonic, Sigma and Sony.
We can't yet be sure how Leica has managed to reduce the base ISO, compared to the previous model. An ISO of 160 is very low for a Mono camera, since it would equate to around ISO 80 if a color filter array was applied. So it'll be interesting to assess the dynamic range, when the camera becomes available.
|We won't know how well the M10 Monochrom's sensor performs until we get a chance to go out and shoot with it. Probably out in one of the classic sports cars Leica seems to expect us to have.|
All Leica has said is that the chip in the M10 Monochrom has been 'designed from the ground up with Mono in mind,' which we're a little skeptical about. It's true that we've not seen this 40MP chip elsewhere, but it's hard to imagine that (even at Leica prices), the M10 Monochrom will ever generate enough money to cover the cost of the development of a dedicated chip.
What is true, though, is that the smaller pixels of a 40MP sensor will make it less prone to aliasing than a 24MP sensor would be, since higher resolution sensors can accurately portray higher frequency detail, before getting overwhelmed and rendering an alias, rather than a correct representation. That said, simply being a monochrome sensor massively reduces the risk of aliasing (Bayer sensors sample red and blue at 1/4 their full pixel count, so can produce color aliasing with relatively low frequency detail).
Beyond the technical
It feels a bit strange writing about the technical advantages of a Leica rangefinder, since that's not historically been an area in which they've excelled, and probably isn't high on the list of why anyone buys one.
Of course, we're DPReview, so we're always going to consider the technical aspects of camera performance. But we recognize that a monochrome camera is about more than this. If you go out knowing that every photo has to be black and white, you look at the world in a different way: you start to concentrate on compositions of light and shade, not just compelling color or the warmth of the light. It's a different way of thinking.
Which is to say: we're really looking forward to getting a chance to go shooting with the M10 Monochrom.
Tokina has announced the release of its new atx-m 85mm F1.8 FE lens for full-frame Sony E-mount mirrorless camera systems. This lens marks the debut of Tokina’s new ‘atx-m’ mirrorless lens series, which will offer various lens designs for different mounts and sensor formats.
The 85mm F1.8 FE lens is constructed of ten elements in seven groups and features one low-dispersion (SD) element. Tokina has also used its Super Low Reflection Multi-coating throughout the lens, which Tokina claims ‘provides natural color and excellent contrast along with superior water, oil and dust repellant properties.’
Autofocus is driven by Tokina’s ST-M motor technology and the lens was designed in accordance with Sony’s licensed specifications, meaning it’ll work with in-body image stabilization, as well as all of Sony’s AF modes.
Below is a gallery of sample images, provided by Tokina:
The Tokina atx-m 85mm F1.8 FE lens will hit shelves around the world on February 7, 2020 for an estimated street price of $500.
Kenko Tokina announces release of the NEW atx-m 85mm f/1.8 FE
New Series, New optics, New look - The atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras.
Huntington Beach, CA, January 17, 2020: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras. It is the debut lens for Tokina’s atx-m series of mirrorless lenses that will include lenses for multiple mounts and sensor formats.
The atx-m 85mm f1.8 FE lens features a clean design with high quality optics housed in a beautifully anodized, semi-satin black metal lens barrel. The fast f/1.8 aperture is perfect for portraits, low light shooting and produces beautiful bokeh.
The optical design has 10 glass elements in 7 groups including 1 SD (Low Dispersion) lens that offers excellent resolution, sharp edge-to-edge results, and well controlled chromatic aberrations. Tokina’s exclusive Super Low Reflection Multi-coating provides natural color and excellent contrast along with superior water, oil, and dust repellant properties.
The new ST-M auto-focus motor is quiet, fast, and accurate in still and video modes and thanks to an all-metal focus unit and high-quality lubricants; manual focus is tactile, smooth and precise.
The atx-m 85mm FE is developed and manufactured in accordance with Sony-licensed specifications and communicates all required data to the camera to take full advantage of the latest Sony features including 5-axis image stabilization, Face/Eye Priority AF, Real-time Eye AF, MF assist, and electronic distance scale.
“This is a very exciting new lens series for Tokina” says Yuji Matsumoto, President at Kenko Tokina USA. “The mirrorless camera market continues to expand and the atx-m series will address the needs of photographers using different camera mounts and sensor sizes.”
Worldwide sales of the Tokina atx-m 85mm f/1.8 FE lens will begin on February 7, 2020 with authorized Tokina USA retailers taking pre-orders January 17, 2020. Estimated USA Street Price of $499.00
|Image courtesy of Monash University|
Researchers led by Monash University in Australia have developed what they say is the 'most efficient' version of a lithium-sulfur battery; one capable of powering a smartphone for five full days of continuous use. The team has filed a patent for the manufacturing process they developed and they report interest from 'some of the world's largest manufacturers.'
Prototype lithium-sulfur power cells were manufactured in Germany, according to an announcement from the university published last week. The technology holds promise for revolutionizing everything from consumer gadgets like cameras and phones to larger systems involving vehicles and solar power. The newly developed lithium-sulfur battery offers more than four times the performance of the market's current most efficient batteries.
With this level of battery performance, photographers and filmmakers could spend weeks in remote locations with only power banks as their power source, eliminating the need to tote around and use solar chargers, which are dependent on direct sunlight and often take several hours or more to recharge a battery.
In addition to improved performance, the Li-S battery technology is also said to have less of an environmental impact than the lithium-ion battery products currently in use. The new battery prototype utilizes the same materials used to manufacture ordinary lithium-ion batteries; as well, the process is said to have lower manufacturing costs.
According to the university, additional testing of the technology with solar grids and cars will take place in Australia early this year. Major lithium battery manufacturers in Europe and China are interested in upscaling the production of these lithium-sulphur batteries.
In June 2019, camera accessory manufacturer Techart released its TZE-01 adapter, which allowed Nikon Z mirrorless camera users to mount Sony E-mount lenses to their systems without losing the ability to use autofocus. Now, Techart is back at it again with the announcement of the TZC-01, an adapter that makes it possible to mount and use autofocus Canon EF lenses on Nikon Z mirrorless cameras.
Techart says the TZC-01 will work with EF-mount lenses from Canon, Sigma, Tamron, Tokina and Zeiss. In addition to ‘native’ autofocus performance, the lenses will also maintain aperture control, stabilization features and EXIF data. In total, Techart lists 62 lenses it says are proven compatible with the adapter:
Below is a demonstration of the adapter from Richard Wong:
Techart has also included a dedicated function button that lets you save a focusing distance to recall with the press of the button and an accompanying lens dock that will let you upgrade the firmware of the adapter.
The TZC-01 is available on Techart’s website for $250.
Kessler, a company that specializes in accessories for filmmakers, has launched a new product called the Mag Max 3A, an adapter that works with select DeWalt power tool batteries for charging cameras, smartphones and certain other equipment. The adapter can be used with the DeWalt 20v Max and 60/20V Flex Volt models.
The adapter is quite unusual, but it's easy to see how some users may benefit from this arrangement. Power tool batteries are available at most hardware stores, are fairly affordable, compact and something many people already own.
Kessler explains the reason it launched this product, saying, 'The Mag Max 3A was developed to fill a void in the market for an inexpensive battery solution with a readily available common battery that can be found in almost every country in the world and at most hardware stores.'
The company selected DeWalt batteries for its adapter due to the brand's popularity in a variety of industries, according to Kessler, including filmmakers and audio recordists.
The Mag Max 3A adapter is capable of powering DSLR and mirrorless cameras, Kessler's motion control systems, LED accessory lights, monitors and other common gear that draw up to 3 amps of power. The device is made from high-grade aluminum, includes multiple 3/8-16 and 1/4-20 mounts, embedded neodymium magnets, as well as optional accessories that include a gold mount stud kit, V-lock kit and belt clip.
The Mag Max 3A adapter is available from Kessler now for $250, though it is currently discounted to $200. The DeWalt Flex Volt battery costs around $129 from most retailers, meanwhile, and the DeWalt 20V Max battery costs around $189.
The Platypod creators are back with another product called Platyball, a new type of tripod head that features a unique design and more modern, convenient features. The Platyball is made with a weather-sealed aluminum unibody, steel components and polymer brake pads; it supports payloads of up to 10kg (22lbs).
Rather than featuring bubble indicators, the Platyball features a built-in leveling indicator offering an accuracy level of 0.5-degrees. The pricier Elite model is identical to the cheaper Ergo model, the only exception being its electronic leveling indicator system. The Platyball is designed for single-hand and gloved-hand use, plus it can be transported using a carabiner clipped to a bag or belt.
Other features include support for use in half a dozen directions, an adjustable brightness display for nighttime use, support for user calibration, an Arca-compatible twist collar, panning lock thumb wheel, two large buttons for locking and unlocking the device and support for standard A23 alkaline batteries.
The Platyball Ergo is offered to Kickstarter backers who pledge at least $199; the Platyball Elite for pledges of at least $249. The team estimates that shipping to backers will start in March 2021 and that the eventual retail prices will be $249 and $325, respectively. You can find out more and secure your pledge by heading over to the Kickstarter campaign.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there's always the risk of the product or service never coming to fruition.
Heathrow Airport, based in London, is the United Kingdom's busiest airfield. After a recent spate of incidents involving drones, including an unsuccessful attempt by climate activists to ground flights, officials have decided to take action. A bespoke anti-drone system, developed by Aveillant Limited, a subsidiary of France’s Thales SA, has been deployed at Heathrow to detect and prevent unauthorized drone use.
'The safety and security of our passengers and colleagues is our number one priority. That is why we’re investing in this new cutting-edge technology which will enhance our capabilities in the detection and deterrence of drones in and around our airfield. We’re delighted to have this unique system keeping our skies safe and helping passengers and cargo to get to their destinations on time,' says Jonathan Coen, Director of Security for Heathrow Airport.
A similar system is also in place at Paris’ Charles de Gaulle Airport. Rogue drones can be detected at a distance of up to 5 kilometers (3.1 miles) away. The one installed at Heathrow can also pinpoint the exact location of offending remote pilots. From there, appropriate countermeasures can be deployed, though it's not yet clear what those will be. Anyone caught flying in a Flight Restriction Zone, which extends out to 5 kilometers of any airport boundary, can face up to 5 years in prison if they have not secured permission ahead of time.
Apple may be preparing to release a new macOS feature called 'Pro Mode,' according to a recent report from 9to5Mac. Evidence of the feature was found nestled within macOS Catalina 10.15.3 beta code alongside strings of text. Based on the text, it seems 'Pro Mode' will be a manual feature that enables users to temporarily boost a Mac's performance.
Apple releases beta versions of its macOS operating system for developers to test before the updates are made available to casual users. Teardowns of these updates may reveal the presence of unannounced features that are hidden in the code, the latest example being this newly detailed 'Pro Mode.'
Strings of text listed as descriptions of the feature state that enabling Pro Mode may make apps 'run faster, but battery life may decrease and fan noise may increase.' As well, a string of text reveals that 'fan speed limit [is] overridden' when Pro Mode is active.
The report indicates that users may be able to turn Pro Mode on manually and that the system will automatically disable it by the next day in a way similar to the existing Do Not Disturb feature. The feature is expected to be made available on MacBook laptops, making it possible for users to temporarily boost performance while editing images, processing videos or other tasks with more demanding requirements.
At long last, it's here - the Nikon D780, successor to the D750 that was released more than five years ago. At the time, we considered the D750 as one of the most well-rounded digital cameras ever made, and it remains highly capable even today. So, to put it lightly, the new model has some big shoes to fill.
We've just received a full-production D780 and have gotten a start on our full review. As we work through our testing, we figured we'd take a look at the D780's design, handling, and some of its high-level updates.
New BSI sensor
The heart of any digital camera is its sensor, and the unit in the D780 looks to be a good one. With 24MP, it's not a megapixel monster, but should offer enough resolution for most users and most use cases. It's now backside-illuminated, which is nice to have but doesn't offer the same image quality benefits on large, full-frame sensors as it does on smaller ones. No, the real news is that it's a dual-gain design. This means that, at the lowest ISO values, you can get maximum dynamic range out of the sensor, while higher ISO values give you better noise performance.
The sensor is also capable of 4K video, and the D780 can shoot silent bursts at up to 12 fps. We'll be taking a look at rolling shutter as we push through our full review.
New shutter and mirror mechanism
Being a DSLR, a mirror sits in front of the sensor most of the time and redirects light up to an optical viewfinder. The D780's sensor and mirror mechanism have been redesigned, boosting burst speeds modestly up to 7 fps from 6.5. The redesigns also enable a minimum mechanical shutter speed of 1/8000 sec (the D750 could only reach 1/4000 sec). Unfortunately, the flash sync speed remains at 1/200 sec; many competing high-end models can reach 1/250 sec or even 1/320 sec.
And, speaking of flash...
Removal of pop-up flash and top-plate design
That's right, Nikon's removed the built-in pop-up flash that was on the previous model. While Nikon says this makes it easier to weather-seal the D780 to a higher degree, it also means that you no longer have that built-in flash for some quick fill-light when you need it. For strobists, the removal of the flash also means that you need a separate dedicated transmitter (or another speedlight) to wirelessly control Nikon's speedlights using its Creative Lighting System.
On the top plate, we see an LCD info panel that is about the same as you'd see on the D750. There's been some button shuffling, though; gone on the right side by the power switch is the dedicated metering button, though an ISO button has been added. Lastly, the mode dial has been simplified with fewer options.
Rear design and controls
While the rear of the camera might look familiar, there are a few substantive changes. There's the addition of a dedicated AF-ON button, and the relocation of the live view and stills / video switch to the top of the plate near the viewfinder for easier access. The 'i' and INFO buttons have swapped sides of the camera as well, so if you pick up a D780 and are a long time D750 user, prepare to reprogram your muscle memory just a bit.
Oh, and if you've ever lost your Nikon DK-21 eyecup for your D750, we have some good news - it seems like the DK-31 eyecup for the D780 is attached a bit more securely, and we haven't lost ours (yet).
Optical viewfinder and autofocus system
And so, despite the bit of button shuffling, it looks like much of Nikon's mantra with the D780 was 'if it ain't broke, don't fix it.' In that vein, the optical viewfinder is identical to the previous model's: same pentaprism design, 0.7x magnification, and autofocus layout with 51 points clustered around the center of the frame.
Indeed, after our experience with ever-more-capable mirrorless cameras over the past five years, we're starting to find the spread of DSLR autofocus points a bit constricting. But hey - if you've been using a D750 for the past five years, well, at least it'll be familiar, if not a huge upgrade.
All that said, you can expect at least an increase in accuracy and tracking performance, courtesy of an upgraded 180k-pixel metering sensor and AF algorithms derived from the D5 sports camera. We'll be digging into these in our full review to find out just how significant these updates are.
Rear touchscreen and live view
The D780 retains a similar tilting screen mechanism that its predecessor had - and I have to be honest, when I first used a D750 professionally, I was pretty stoked at tilting the screen out and not having to lay down on my stomach in the dirt for low angle shots. But I digress.
In consideration of all the D780 offers, this is where the most significant updates lie. Sure, the screen has been updated to 2.36M dots (up from 1.23M), and offers touch functionality for shooting, playback and menus. But the real story is that once you switch the D780 into live view, you effectively have a bulkier, F-mount Nikon Z6 in your hands.
You get the Z6's 273 on-sensor phase-detection AF points (compared to the slow, 'hunty' contrast detection of the D750) and the same AF tap-to-track functionality for both stills and video. And speaking of video, the D780 is capable of 4K video, which we'd wager will look an awful lot like what the Z6 is capable of (in other words, pretty darn good).
The one gripe we have with the touchscreen is that you can't drag your finger across it with your eye to the viewfinder to move your AF point around (and this was included on Nikon's D5600 DSLR as well as countless mirrorless models from other manufacturers).
Dual UHS-II SD card slots
Moving on, we can see that the Nikon has resisted moving the D780 to the XQD format seen on Nikon's Z-mount cameras, instead offering dual UHS-II SD card slots (an upgrade from the UHS-I slots on the D750). Whether you prefer the more ubiquitous SD card format or not, at least we can breathe a collective sigh of relief that there will be somewhat fewer "NO DUAL CARD SLOTS NO BUY NOT PROFESSIONAL GRR" comments floating around the internet.*
And while we haven't yet tested the buffer depth of the D780, it was a bit limited on the D750, and was regarded as one of that camera's weak points. We're hopeful that the faster slots on the D780 will enable longer burst-shooting for sports and action photographers.
*(In all seriousness, the D750 made for a great wedding camera, which is a use-case where dual card slots have an obvious benefit - we're happy the D780 continues to offer them.)
Battery, no grip
One area that has generated a barrage of bilious bloviating is the D780's apparent lack of compatibility with an add-on vertical grip. The bottom-plate of the camera is where we would usually see a small rubberized door hiding some electrical contacts that enable the camera to use additional controls present on most vertical battery grips. Without those, the most we can hope for is a grip like this one for the Z series, which boosts battery life but doesn't do much else.
At the very least, the D780 is CIPA rated to 2260 shots through the optical finder on a single EN-EL15b battery, which is over than a thousand shots more than the D750 could manage. That's pretty impressive.
Ports and connectivity
Further related to battery life, the D780 gains a USB Type C port, which can also charge the camera if you have the EN-EL15b battery installed. The previous EN-EL15a and EN-EL15 batteries will power the camera, but they cannot be charged over USB. It should also allow for faster data transfers, as well as better tethering support.
In terms of wireless data transfers, the D780 now supports Bluetooth as well as Wi-Fi using Nikon's SnapBridge wireless system. It's become quite a capable system and is a far cry from the original WMU mobile app that users had to contend with on the D750.
There's also a mini HDMI port, which supports 10-bit 4:2:2 4K video output (just like the Nikon Z6), as well as a remote port and microphone and headphone ports. If you have a stabilized lens, a gimbal or plan to use a tripod a lot, the D780 should make for a pretty capable DSLR video rig.
By now it should be apparent that, in creating the D780, Nikon has chosen not to mess with the basics of what made the D750 a great camera. We still have a reasonably compact DSLR body with a comfortable grip and well-sorted ergonomics, burst shooting that is likely fast enough for most people, and what is looking to be a really capable viewfinder autofocus system. With the addition of 4K video, a smoother live view experience, a touchscreen and better wireless connectivity, they've only really updated the things that really needed updating.
Does that make the D780 a particularly exciting camera? I suspect it will be pretty exciting for a fairly small subset of users (particularly those with large collections of F-mount lenses). But it does help guarantee that, just like the D750, the D780 will likely remain relevant as a reliable workhorse for pros and enthusiasts for many years to come.
And if you're a D750 user that still can't decide whether or not to upgrade, watch this space - we'll be publishing an article dedicated to just that very soon.
Remote ID, the concept that a drone should have a digital license plate, has long been championed by industry leaders. Implementing it properly would enable remote pilots to safely perform complex flights including over people, at night, and beyond-visual-line-of-sight. The Notice of Proposed Rulemaking (NPRM) for the Remote Identification of Unmanned Aircraft Systems was released the day after Christmas by the Federal Aviation Administration (FAA) after numerous delays. Unfortunately, the 319-page document proposes rules and regulations that many feel would hamper a burgeoning industry, including DJI.
DJI's Vice President of Policy & Legal Affairs, Brendan Schulman, posted a 2,100+ word call to action on the company's main content portal, yesterday, explaining why there was a need for Remote ID while chastising the FAA for not 'adopting good advice' when drafting the NPRM. Since 2017, DJI has implemented Remote ID across all of their consumer drones in the form of AeroScope technology. The intention in taking this step is that both the government and industry would willingly adopt Remote ID.
Schulman and DJI 'support a simpler, easier, and free version of Remote ID that doesn’t need a cellular connection or a service subscription.' To illustrate why these ideals are important, Schulman presents the following analogy that anyone who drives an automotive vehicle can understand: '...what if instead of just a license plate, your car was also legally required to be connected via the internet to a privately run car-tracking service that charged you an annual fee of about 20% of your car’s value, and stored six months of your driving data for government scrutiny? Would you think the government had gone too far?'
'What if instead of just a license plate, your car was also legally required to be connected via the internet to a privately run car-tracking service that charged you an annual fee of about 20% of your car’s value, and stored six months of your driving data for government scrutiny? Would you think the government had gone too far?'
The article goes on to explain how detrimental the Remote ID NPRM will be to everyone in the drone industry, except for those who stand to profit from it. The costs involved with compliance in everyday drone operations would cripple most commercial operators. Schulman hopes that every individual who will be adversely affected leaves a comment for the FAA to consider. As of this writing, over 5,300 have been posted. Comments will close on Monday, March 2nd.
'Together, we can ensure that drone innovation is protected and that the safety and security of the skies are assured.' Read Schulman's post in its entirety, here.
During the video interview below, Sharp's vice president of New Business Development Cliff Quiroga revealed some details about the company's 8K camera, which was demonstrated with a working model at the most recent Consumer Electronics Show. The camera will be able to record 8K/30p, 4K/60p and 1080/60p video, it was confirmed.
The latter two recording options will be at 200Mbits/s at 10-bit, according to the interview, which reveals that the camera will feature a full-size HDMI output port, a 14cm (5.5") fully articulating touch LCD, headphone and audio jacks, as well as a mini XLR port. The camera was demonstrated with an 8K external display.
Sharp is aiming for an H2 2020 release date in Japan and plans to launch the camera in the United States at some point 'shortly after that.' The price is still expected to fall below $4,000, but additional details are still pending.
Tamron has announced that its 20mm F2.8 Di III OSD M1:2 macro lens for full-frame Sony E-mount cameras will be on sale at the end of this month. It will sit alongside two other close-focusing Tamron lenses: the 24mm F2.8 and 35mm F2.8.
The 20mm F2.8 offers a minimum focus distance of 11cm (4.3") and a max magnification of 0.5x. This compact lens is only 6.4cm (2.5") long and is sealed against moisture and dust.
The 20mm F2.8 Di III OSM M1:2 will be priced at $350 when it arrives on January 30th.
Tamron Announces the Launch Date of Close-Focusing
20mm F/2.8 Di III OSD M1:2 (Model F050)
January 14, 2020, Commack, NY - Tamron announces the 20mm F/2.8 Di III OSD M1:2 (Model F050) prime lens for Sony E-mount full-frame mirrorless cameras will be on sale in the USA on January 30, 2020. The lens will sell for approximately $349.
Now, all three close-focusing prime lenses including the 24mm F/2.8 Di III OSD M1:2 (Model F051) and the 35mm F/2.8 Di III OSD M1:2 (Model F053) will be on the market. Enjoy the world of wideangle prime lenses with this convenient and mobile lens, featuring the same 67mm filter diameter as all lenses in Tamron’s line-up for full-frame mirrorless cameras.
- Enhanced close-focusing capability expands lens versatility with an MOD of 4.3 inches.
- 67mm filter diameter, same as all other Tamron lenses for full-frame mirrorless cameras.
- Superb high-resolution performance that matches the latest high-resolution image sensors.
- Superior design and consistent 2.5 in overall length facilitate ease-of-use.
- Moisture-Resistant Construction and Fluorine Coating contribute to a comfortable, user friendly photographic experience.
- Compatible with various camera-specific features including Fast Hybrid AF and Eye AF.
The company that created the self-flying Hover 2 is back with a new, uniquely-designed unmanned aerial vehicle. Inspired by the V-22 Osprey military aircraft, the V-Coptr Falcon is a compact, foldable, first-of-its-kind V-shaped drone that boasts only 2 propellers. A reduced number of rotors, coupled with a more aerodynamic design, means less power is consumed during operation. As a result, the Falcon can fly up to 50 minutes.
The Falcon has a 12MP, 1/2.3-inch Sony sensor with a 77º FOV on a 3-axis gimbal. Video can be recorded up to 4K/30p, 2.7k/60p, and 1080/120p. Photos can be captured in both RAW and JPEG format while video is limited to MP4. There is 8GB of internal storage available onboard though adding an external microSD card with up to 256GB storage is recommended.
Front-facing stereo cameras provide obstacle avoidance that functions at a speed of up to 7m/s. The BlastOff controller can operate for 2.5 hours, fully charged, and it gives the Falcon a range that extends up to 7,000 meters (4.3 miles). Autofollow mode is available and users can also take advantage of the pre-programmed flight paths and post-editing templates found in Cinematic Shots.
Similar models from DJI, Autel, and Parrot boast a flight time of up to 30 minutes, maximum. Slower rotation of aerodynamically-designed propellers help the Falcon stay airborne for up to 20 minutes longer. With its 12MP, 4K/30p camera, the Falcon is most similar to DJI’s Mavic Pro Platinum. The V-Coptr Falcon retails for $1000, with a required $100 deposit, and will start shipping in February 2020.
Skylum has launched version 4.1 of its Luminar image editing and organization software, providing improvements to the AI-powered AI Sky Replacement and Portrait Enhancer tools, as well as the Erase tool.
AI Sky Replacement now lets users add 'atmospheric haze' as it is usually seen during daytime, to their images. The company says that in combination with the Sky Temperature and Sky Exposure sliders this allows for a realistic light balance between the replaced sky and the image foreground. This is particularly useful when dealing with strongly saturated replacement skies that don't match the foreground.
The Erase tool has been upgraded to allow for more precise object removal with complicated backgrounds or complex gradients. The Erase tool now creates softer edges and Skylum says a new algorithm comes up with smarter selections for area replacement.
Portrait Enhancer now works with a wider range of images, also enhancing faces that are smaller in the frame, for example in group shots or environmental portraits.
In addition, the update brings a new Adjustments Amount slider that lets you blend image enhancements with the original image and general performance improvements. More information is available on the Skylum website.
Luminar update brings new AI-centric features and performance improvements
A month after its initial release, Luminar 4 receives update with new and improved tools, performance upgrades and more.
NEW YORK, NY - December 23, 2019 — Today, Skylum announced its first update to Luminar 4, complete with several feature additions and improvements to make workflow easier, and to allow for more control in its machine-learning tools. Released a month after its initial launch, the Luminar 4.1 update includes updates to AI Sky Replacement, the Erase tool, Portrait Enhancer and more.
“Since we released Luminar 4 last month, we could not be more thrilled with what we’re seeing photographers create. With our first feature update to Luminar, we hope that these improvements will expand the possibilities for our users, and create new, exciting opportunities for their image creation workflows,” said Alex Tsepko, CEO of Skylum.
While the new Luminar 4.1 update already packs some new and improved features, photographers can expect to see more updates to Luminar over the coming months, especially for its machine-learning tools.
NEW Atmospheric Haze for AI Sky Replacement
With Luminar 4, Skylum added the world’s first automatic sky replacement technology to its software. AI Sky Replacement gets a feature update in Luminar 4.1, letting photographers naturally add atmospheric haze that is usually seen during the day, to their images.
Coupled with the Sky Temperature and Sky Exposure sliders, it’s now possible to achieve a perfectly balanced, harmonious image in a single tool. It keeps the light balance between the replaced sky and image foreground more realistic, leading to a more “finished” result.
Atmospheric Haze is the perfect addition when dealing with harsh daylight photos with clear blue skies. If you have an oversaturated sky or if the brightness of your sky doesn’t match the foreground, it will add haze to make for a more accurate image.
NEW Erase tool technology
The Erase tool has been upgraded, using an all-new technology for precise object removal. Removing unwanted pixels is easier than ever, even with complicated backgrounds or complex gradients. Edges on the Erase tool are much softer, and the new algorithm means smarter selections for area replacement.
Portrait Enhancer improvements
Introduced with Luminar 4, Portrait Enhancer has also received improvements. The tool can now be used on even more images, including those with smaller faces like groups or environmental portraits.
Adjustments Amount slider
If you ever need to tone down an adjustment slightly, the new Adjustments Amount slider has you covered. It’s the perfect option to help you blend your tools with the original image. Just use the Layers tool to dial back the Adjustments Amount slider.
You’ll find this new control for all image and adjustment layers. Traditional opacity controls remain available. The Adjustments Amount slider works with all tools except for transform options like Lens Correction, Slim Face and Enlarge Eyes.
Additional performance and capability improvements
Luminar 4.1 brings full support for Adobe Photoshop 2020, allowing you to use Luminar 4.1 as a plugin or as a Smart Filter with Smart Objects.
Thanks to Luminar users, several performance improvements have been made, including memory management, user experience and stability, helping to make Luminar better than ever.
How to update
Luminar 4.1 is a free update to current Luminar 4 users. On a Mac, click in the Top Menu Bar and choose Luminar 4 > Check for updates. On Windows, in the Top Menu Bar choose Help > Check for updates.
If you are running Luminar as a plugin with Photoshop, Lightroom Classic or Photoshop Elements, it’s also recommended you rerun the plugin installer.
An expanded user manual has also been added, making it easier than ever for users to search and find answers to questions they might have about the software.
Celebrate the holidays with savings on Luminar
For a limited time only, Skylum is offering holiday savings on Luminar 4. Save $10 when purchasing Luminar 4, bringing the cost to $79 for new users and $69 for existing users at skylum.com/holiday-sale-2019.
And for more photography inspiration, check out the Luminar Holiday Bag — a $395 value for just $129. Included is Luminar 4 plus a 6-months SmugMug Pro Plan (new users only), PDF Expert, a 1-year Viewbug Pro membership, one free Rocky Nook eBook and 20 free prints from Parabo Press.
To get your copy or learn more about Luminar 4, visit skylum.com.
During CES 2020, Acer introduced its ConceptD 7 Ezel and Ezel Pro laptops with a hinge offering five different usage modes. The laptops are designed for creators in need of powerful graphics performance and a high level of color accuracy. The models are joined by the ConceptD 700 workstation for filmmakers and animators.
The Acer ConceptD laptops feature a unique Ezel hinge that enables users to position the screen in unique positions that aren't possible with an ordinary notebook, including Floating Mode, Sharing Mode and Display Mode. The company describes its new laptop models as ideal for users who want to create, finalize and present their content from the same device.
The Acer ConceptD 7 Ezel laptops are NVIDIA RTX Studio certified with up to 10th-gen Intel Core H processors, NVIDIA GeForce RTX graphics, 32GB of RAM and 2TB SSD storage. The ConceptD Ezel Pro is a more powerful alternative with up to an Intel Xeon processor and Quadro RTX graphics. Both models include the Wacom EMR pen.
In addition, the models feature a 4K IPS display with a 3840 x 2160 resolution, 400 nits brightness, built-in color correction technology, 100% Adobe RGB color gamut and Delta E <2 color accuracy. The screen is protected with Gorilla Glass 6, plus it features an anti-glare coating. Other features include an SD card slot, dual Thunderbolt 3 ports, DisplayPort 1.4 and HDMI 2.0.
The ConceptD 7 Ezel will be available in North America, Europe and China with prices starting at $2,699 / €2,499 / 19,999 RMB. The ConceptD Ezel Pro model will have a higher starting price at $3,099 / €2,999 / 21,999 RMB.
Image credits: Photos published with kind permission from Lensrentals.
Over on ‘The Desk of a Humble Genius,’ Roger Cicala of Lensrentals has ‘finally’ taken apart the Nikon Z 24–70mm F2.8 lens and shared both his insights and images from the experience.
As the original title of the teardown, ‘Lens Disassembly is a Complicated Profession. Don’t You Agree?,’ alludes to, this particular disassembly proved to be a challenging one, which par for the course with Nikon lenses, according to Roger. In his own words, Roger says ‘Nikon lenses have always been a bit “old fashioned” and different from other SLR lenses,’ but this review comes with a very clear warning to ‘not get your lens and screwdriver and follow along at home,’ because ‘Bad things might happen. Bad. Things.’
The teardown starts off with what is about the only negative thing Roger has to say about the lens—the felt around the lens hood, which he feels peels up too easily isn’t up to the quality of the rest of the lens.
From there, it’s onto the mount, which was dissected one screw and ribbon cable at a time. Upon removing the mount itself, Roger noticed it was particularly difficult to get off. This was due to an inner lip that rests against the rear barrel of the lens. Roger says ‘This might be to keep the bayonet centered, for a dust seal, to provide a little extra strength, or just because it looks cool,’ but notes regardless of the exact reasoning, ‘it seems like an all-around good idea.’
Moving along, Roger removed the rear piece of the lens barrel to reveal the A/M focus switch and the optical sensor the control ring uses. Each piece removed reveals a healthy amount of weather sealing gaskets, as well as numerous electrostatic discharge (ESD) cushions under the exterior of the lens.
With the rear barrel off, Roger gets into the internals of the lens, which proved to be a pleasant surprise. In his own words:
‘OK, let’s take a moment for me to give some props. Forever, during Nikon tear-downs, I’ve made snarky comments about the old-fashioned look they have inside; soldered wires here and there, flexes wandering aimlessly, random secondary circuit boards, etc. Well, no more. Look at this engineering right here: neat flexes running directly where they’re heading placed in recessed channels in the barrel and thoroughly taped in place. Superb! Nikon has clearly modernized and spent time and effort in making a clean, well-engineered layout for the electronics. I’ve been asking for that for years, and Nikon delivered.’
The PCB itself also proved to be quite minimal, at least compared to the one found inside the Canon RF 70–200mm F2.8 lens Roger tore down a few weeks back. In the past, Nikon has used secondary circuit boards in the lenses to beef up the processing capabilities, but Roger notes there wasn’t another one inside this lens, suggesting the camera handles a generous amount of the processing power.
After a few other auxiliary bits, it was onto the removal of the next piece of the lens barrel. Unfortunately, this is where Roger and Aaron ‘ran into the “be careful what you wish for; you might get it” conundrum.’ It turns out one of those nicely-organized flex cables ran down to the display unit of the lens and refused to budge when attempting to lift the barrel.
|A syringe full of rubbing alcohol isn't something you usually want to see during a lens teardown.|
‘Rule 63 of taking apart lenses is “thou shalt not tug a flex”; because tearing a flex is bad,’ says Roger in the teardown post. ‘[But] on Nikon lenses, because we can’t buy parts, tearing a flex is very bad.’ After countless attempts to use different means of removing the flex cable to avoid tugging, Roger and Aaron decided they were sick of holding off lunch and decided to use a little rubbing alcohol in a syringe to ease the adhesive from the back of the ribbon cable. After a little bit of pulling, the barrel was off and they were on their way.
Roger hits on a number of other interesting tidbits about the buttons on the lens and the unusually-bright neon-yellow tape strategically-placed throughout the lens. The zoom barrel proved to be weather-sealed incredibly well and the zoom position sensor Nikon uses is an upgrade from the traditional metal brushes it’s used in the past.
The remainder of the lens disassembly proved to be a doozy, with excellent build quality proving time and time again to be a double-edged sword for Roger, who seemed to be as challenged as he was impressed.
While we’ll leave the rest of the humor, photos and details to Roger in his full write-up, here are a few other notable details discovered throughout the remainder of the teardown process:
- Breaking the front filter thread of the lens is going to be a very expensive fix, as the entire front barrel is a single piece, rather than a piece simply held on with a few screws.
- Aaron had to put on gloves during the assembly, which in Roger’s own words means ‘shit’s getting real’
- The aperture diaphragm assembly is a combination mechanical/electronic aperture with very tight tolerances
When all was said and done, this teardown proved to be the longest ever—and that’s before Aaron had to piece it all together. The good news is, it (mostly) took so long because Nikon went above and beyond when engineering this lens.
Roger says these new Nikon Z lenses are a far cry from their F-mount counterparts and much like Canon’s RF lenses, are likely completely new optical designs made in-house. He notes 'The engineering itself is incredible in most ways [and] the neatly laid out and solidly adhered flexes reflect the careful design.’
To see all of the images and read more in-depth knowledge shared by Roger, head on over to the Lensrentals blog.
Pop-up front cameras are an established design to avoid large bezels, 'punch holes' or notches on smartphone fronts. If Xiaomi's latest patent filing is anything to go by the concept could soon be taken to another level, though.
The documentation which was recently authorized by CNIPA (China National Intellectual Property Administration) shows a pop-up camera that comes with a lot more camera/lens modules than anything we've seen up to now.
The patent includes three versions, with the most simple one featuring dual-cameras at front and back. The most advanced variant comes with a dual-cam at the front and five modules on the front.
To accommodate all this the pop-up mechanism is wider than on most other smartphones with pop-up cameras but still, image sensors would likely have to be smaller than on more conventional camera setups. As usual, there is no way of knowing if this patent will ever be turned into a final product but it's good to see manufacturers looking at new ways of designing smartphone cameras.
It’s been revealed the United States Senate will be cracking down on the press corps for the Senate impeachment trial of U.S. President, Donald J. Trump, severely limiting photojournalists ability to document the monumental moment.
Later today, when House leaders hand off the articles of impeachment to the Senate, still photographers won’t be allowed to document the monumental moment, an unprecedented move that’s raising concerns over credentialed reporters’ and photographers’ ability to exercise their First Amendment right to the freedom of the press.
According to a report from Roll Call, Capitol Police Chief Steven A. Sund and Senate Sergeant-at-Arms Michael C. Stenger are putting in place restrictions that will allow just a single video camera to be present in the room. No still photographers will be allowed to press the shutter and no audio recordings will be allowed.
NO STILL PHOTOGRAPHERS allowed to document the transfer of the articles to the Senate?!?!?— Mike DeBonis (@mikedebonis) January 14, 2020
I stand with the Standing Committee of Correspondents & scores of colleagues who cover the Capitol daily in condemning this outrageous breach of press freedom. https://t.co/lF4B0fJKUg
Even after today, the remainder of the trial will see only a single press pen set up on the second floor of the Senate, where legislators will enter and exit the chambers. Reporters and photographers won’t be able to move outside the pen, except for before and after the processions when they’re escorted by proper authorities.
Following news of these restrictions, The Standing Committee of Correspondents, a five-member panel of journalists representing the credentialed press in Congress, fired back saying the restrictions ‘fail to acknowledge what currently works on Capitol Hill, or the way the American public expects to be able to follow a vital news event about their government in the digital age.’
Roll Call reports the ‘planned restrictions […] rejected every suggestion made by the correspondents,’ regarding press access during the trial and The Standing Committee of Correspondents has rejected the claim these planned restrictions are being put in place to protect the lawmakers, saying Capital Police have implemented these rules ‘without an explanation of how the restrictions contribute to safety rather than simply limit coverage of the trial’
Other individuals chimed in on the matter, including Alexandria Ocasio-Cortez, a U.S. Representative for the NY-14 district, who shared the following tweet:
There is no good reason that credentialed press should be blocked from thoroughly covering the impeachment trial & documenting it for the public.— Alexandria Ocasio-Cortez (@AOC) January 15, 2020
We must honor the freedom of the press. To not allow photography of the transfer - along w/ many other limitations - is unacceptable. https://t.co/VuWq1b7PDb
Photographer and teacher David Hobby also shared his thoughts on the matter, saying:
If you’re trying to erase a moment from history, job one is to ensure no still cameras are there to record it. https://t.co/FB8qWscx8i— David Hobby (@strobist) January 15, 2020
Unfortunately, these restrictions likely mean photographer David Burnett won't be able to use his now-iconic 4 x 5 film camera to capture the transfer of articles for the third impeachment in U.S. history.
Check out these full resolution images shot with the Pentax DA* 11-18mm F2.8 ultra-wide zoom lens, captured while shooting this week's episode of DPReview TV.
Did you miss this episode? You can find it here.
It's Pentax week on DPReview TV, so Chris and Jordan review the DA* 11-18mm F2.8 ultra-wide zoom for Pentax APS-C cameras. Do they like it? They sure do! Enough to inspire Jordan to sing. And sing some more. Get out your earplugs.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Design and build
- Weather sealing
- Sample photos
- Focal length
- Close focusing
- The town of Kimberly
- Flare and sunstars
- Chromatic aberration and distortion
Sample gallery from this episode