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Fujifilm X-S10 Hands-On Preview Sample Photos

Fujifilm X-S10 Hands-On Preview Sample Photos

Fujifilm XS10 (1)

Fujifilm’s new X-S10 is a compact DSLR styled mirrorless camera with EVF, and large handgrip, designed for all types of photographer or videographer, aimed to be usable by anyone, the camera features the same 26mp APS-C X-Trans 4 CMOS sensor as the flagship Fujifilm X-T4.

Fujifilm says they are targeting DSLR users, who haven’t switched to mirrorless, and the X-S10 is designed to be simpler to use without the direct shutter / ISO speed controls of other Fujifilm cameras but does offer direct access with the ISO button, dials and Q button.

And in comparison to recent camera introductions, which have regularly been £2000+ the Fujifilm X-S10 makes a refreshing change, by offering a high-specification camera at a price point under £1000 with lens! The camera is £949 body only, £999 with 15-45mm lens, £1299 with 18-55mm lens, and £1399 with 16-80mm lens.

Fujifilm X-S10 Features

Fujifilm XS10 (13)

The Fujifilm X-S10 has new ergonomics, and a new body style with a deep handgrip when compared to other Fujifilm X-Series cameras. Gone are the external shutter speed and ISO speed dials, and instead there’s a traditional PASM mode dial to make it easier for people to use the camera if they’re coming from an alternative camera. The camera body is also relatively compact, being not much larger than a Micro Four Thirds DSLR-style camera.

“Not all customers appreciate manual dials, so Fujifilm has added the PASM mode dial to the camera.”

The camera features the same 26mp APS-C X-Trans4 BSI CMOS sensor as the flagship Fujifilm X-T4, and features a more compact in-body image stabilisation system that moves the sensor to give up to 6.0 stops of image stabilisation.

The camera has front and rear dials, plus left-hand fn. dial. You can use the aperture dial on an XF lens (in aperture mode). There’s a dedicated Movie record button on top of the camera. You’ll also find a range of buttons and controls that should be familiar to DSLR/Mirrorless camera users including a dedicated AF ON / Fn button, an AEL / Fn button, and a Drive button. These can be customised if needed, and there are 4-on screen function buttons.

The 3inch 1040K dot vari-angle touch-screen can be tilted forwards for selfies and vlogging when needed, or you can fold the screen away to keep it safe. There is an electronic viewfinder (EVF), with a 2.36m dot resolution, and 0.62x magnification. This has a 100fps refresh rate, and the eye-detection sensor will automatically switch between the rear screen and the EVF.

 

Fujifilm XS10 (11)

 

Wi-Fi, and low-power Bluetooth is built-in, and the camera can be used with the Fujifilm Camera Remote APP.

Video features include DCI 4K, at up to 30fps. This is recorded at 4.2.0 8-bit internally, with 4.2.2 10-bit via HDMI output. The camera doesn’t offer as many features as the X-T4, which offers ALL-I video recording. A new feature is a count-up clock, which will show when recording video.

With in-body image stabilisation (IBIS), this can be used on it’s own with non-stabilised lenses. It also works with OIS when used with a lens with built-in OIS (Optical Image Stabilisation). There’s also DIS (Digital Image Stabilisation) which can be used as well, which crops into the video, to give additional stabilisation.

The camera is compatible with Fujifilm’s X Webcam v2.0 software, making it suitable for use as a webcam. As with other Fujifilm cameras, Capture One Express for Fujifilm is available as a free download.

Fujifilm XS10 (4)

Key Features

  • 26.1mp APS-C CMOS Sensor, BSI CMOS, X-Trans 4
  • -7 EV PDAF (with 50mm f/1.0), 0.02s AF
  • 30fps blackout-free shooting,
  • X-Trans CMOS 4 + X-Processor 4
  • In-body Image Stabilisation, 5-axis, 6stop
  • 4K DCI Video, 30,25,24,23.98fps
  • FullHD 240fps
  • 8fps continuous shooting
  • ISO80 to ISO51200
  • 18 film simulation modes
  • UHS-I SD card slot
  • Microphone socket
  • USB Type-C (can be used for headphone)

 

Fujifilm X-S10 Handling

Fujifilm XS10 (3)

The camera features a dedicated PASM mode dial, rather than the shutter/ISO dials found on other X-series cameras. With this, the camera provides quick access to exposure compensation using the rear dial (in P mode), and you can quickly access the ISO speed using the dedicated ISO button. For other settings you can use the Q button to quickly access settings, and this can be customised to give you access to your favourites. We would most likely customise this to give us quicker access to white balance, as we found that we ended up having to go into the menus to adjust this (alternatively we could customise the Q Menu to give us quicker access).

The mode dial has 4 custom positions (C1, C2, C3, and C4) and AF/MF + shooting settings can now be saved along with image quality settings (for stills photography only) using these.

The top left dial gives you quick access to the film simulations (on default settings), however, this can be customised to give you quick access to the settings of your choice. There’s an 8-way focus lever which is neatly places in reach of your thumb.

The camera body has a mixture of metal and plastic construction, and feels well built, with solid construction. The battery and memory card compartment is underneath the camera. These are under the handgrip and far enough away from the metal tripod socket, that it should still be possible to change these even with the camera mounted on a tripod. The camera is surprisingly compact, and is 20% lighter than the Fujifilm X-T4.

Fujifilm XS10 (2)

The 3inch touch-screen has a resolution of 1040K dots, and looks clear. The screen can be tilted forwards for vlogging and selfies. Due to the position of the HDMI, USB-C and microphone sockets, these could get in the way of the screen if you use them with the screen facing forwards.

The electronic viewfinder (EVF) has a reasonable resolution of 2.36m dots, and 0.62x magnification. The view is very clear, and detailed, with a good refresh rate and good colour reproduction. One thing we would have liked to see is a slightly deeper eye surround. The eye-detection sensor works well, being relatively quick to switch between the rear screen and EVF when needed.

The menus are clearly laid out with colour coding for each section. There’s also the usual “MyMenu” section where you can add your favourite settings for quicker access. Switching to the movie mode is that you get a movie focused set of options.

Film simulations now have descriptions and additional information. Auto / SP scene recognition, will use clarity and other settings to improve photos for the user. Any film simulation is available in Auto, as well as raw

The NP-W126S battery gives 325 shots (according to CIPA standards, which includes firing the flash). We expect battery life to be better than this if you’re using the continuous shooting modes, and it’s recommended you switch off the camera when not in use.

Fujifilm XS10 (7)

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Hasselblad 907X Hands-On Review and Vintage Lens Test

Hasselblad 907X Hands-On Review and Vintage Lens Test

I have been so excited about this Hasselblad 907X camera. In this hands on review of the Hasselblad 907x and CFV II 50C we show you an image quality test, discuss the ergonomics and try it out on our Hasselblad 500cm with some vintage lenses. Check it out to see what we got!

In this video and review, we take a look at a very exciting camera. Those of you who love Hasselblad as I do—I have the Hasselblad 500CM and also an EL/M—have probably been super excited about having an affordable back you can put on one of your vintage systems and turn it into a digital camera.

That’s exactly what we have here.

Hasselblad 907X Hands-On Review and Vintage Lens Test 1

We have the 907X and the CFV II 50 C. This is Hasselblad’s new camera, and it’s basically a lens mount that you can attach the CFV digital back onto. But the cool thing is, you can also take this back and replace the film back that’s on the old 500 series cameras. It’s awesome.

Ever since this was announced one or two years ago, I’ve been dying to get my hands on it. Finally, it’s available.

You can pick these things up for about $6,400. So it’s not cheap (affordable is a relative term here) but I am really excited to try this out. I love the form factor, and it’s honestly different than any other camera we’ve shot with. It’ll be fun to try this with the new XCD digital, show what it can do with a brand new sharp lens, and then try it with the old vintage camera and lenses as well.

We’re going to shoot the pier here, and see exactly what we got.

Hasselblad 907X Hands-On Review and Vintage Lens Test 3

Ergonomics

Let’s talk about ergonomics. This is a funny one, because it’s basically a little box. It is the most interesting camera I think I’ve ever used, and I actually really like it. My one complaint is that it would be nice to have a handle on it, which is probably why they also released an extension grip that you can buy for like $700.

If I owned this camera, I would probably get that. But it’s definitely usable even without it.

As is, the 907x 50c is kind of discreet, which is what I like about it. You can just pop the screen out and shoot from down low using the LCD as your viewfinder. I was worried about shooting on the beach in the bright sun, and it was a tiny bit challenging, but not nearly as bad as some other cameras that you’ll shoot with.

Hasselblad 907X Hands-On Review and Vintage Lens Test 5

It’s pretty bright. It’s pretty clear. And I kind of like how you can just hold the camera discreetly at waist level and shoot it like a twin reflex.

It’s also really small. Essentially the only controls on the camera are the shutter release and one single dial—a small little collar around the shutter release. That changes your aperture, or if you’re on shutter priority, it’ll change your shutter.

It’s the only dial on the camera, which is pretty awesome. Very minimalist.

Hasselblad 907X Hands-On Review and Vintage Lens Test 7

Image Quality

Alright, so let’s look at our picture quality. This first image is one of the first images we took at the beach. We had the camera set up and then we switched the digital back, back and forth, between the CFV II 50C and the 500CM.

Hasselblad 907X Hands-On Review and Vintage Lens Test 9

The framing is a little different because the 80mm is tighter than the 65mm. When we zoom in here to Ruby’s café they are pretty close. It feels a little like there’s a little less contrast and sharpness in the 500CM but it’s pretty dang close. And you do have a little bit more chromatic aberration that you’d expect that from a 40-year-old lens over a brand new one.

One thing I love about this camera is the deep but subtle color tonality. It’s really subtle and beautiful. It renders the blues into the warmth so incredibly well. So smooth. And there’s no abruptness about it and it catches all the subtle different hues and the different luminance values. This is one of the things I like about the sensor and the way that Hasselblad is.

Hasselblad 907X Hands-On Review and Vintage Lens Test 11

If you look at the Ruby’s sign, it’s just a really beautiful, deep red. It’s not blowing out and it’s not turning a really weird color. It’s just red, like it should be, like it is with your eyes.

Hasselblad 907X Hands-On Review and Vintage Lens Test 13

Look at the reflection down here. That is a really nice rendition. What’s interesting here is the star flare you get with the XCD lenses. It’s kind of fun, but you really don’t get any flare with the vintage lens which is surprising. Then I went to 16 second exposures.

Hasselblad 907X Hands-On Review and Vintage Lens Test 15

There’s a general softness to them. That must have something to do with the vapor in the air.

Hasselblad 907X Hands-On Review and Vintage Lens Test 17

It got really moist as the sun went down and the old Hasselblad just got covered with water, the body and the lens. I had to clean the lens constantly and I didn’t have a cable release. That might have contributed to that as well. But that’s the hard part about the old Hasselblad, you have to go to bulb. So once you hit it you have to count out your exposure with a stopwatch. It’s older technology.

Hasselblad 907X Hands-On Review and Vintage Lens Test 19

Dynamic Range

From our past tests that we’ve done with the X1D, we know that you can under expose this camera by two or three stops and bring those shadows up in post and it will be just fine. That’s really the 14 stop dynamic range at play.

These next shots are meant to show you the dynamic range of this camera. It’s got a nicely exposed highlight, but the shadows are getting pretty deep.

Hasselblad 907X Hands-On Review and Vintage Lens Test 21

Hasselblad 907X Hands-On Review and Vintage Lens Test 23

But when you take it into Camera Raw, it had no problem bringing the shadows back up. It took 3 seconds. You could do a million things with this. And this could be even underexposed another stop and a half easily.

Hasselblad 907X Hands-On Review and Vintage Lens Test 25

And look at the color rendition in that pink blanket, and the subtle warmth in his face. It just feels like you’re getting a true color with this. A deep rendition of the color spectrum that’s actually there.

Hasselblad 907X Hands-On Review and Vintage Lens Test 27

Hasselblad 907X Hands-On Review and Vintage Lens Test 29

Vintage Camera Test

It is interesting shooting it with a vintage camera. Here are of some of the challenges.

You certainly have to look through the eyepiece to frame the framing. It is difficult. If I used this regularly I would definitely have tape off my viewfinder so I could know exactly what is “live” with the digital back on the 500CM, because the sensor is smaller than the film you would normally use with this camera, so it crops in.

I’ll be in tight thinking I’ve got a great shot. And the reality is, it’s cropping a lot of it out. That’s a challenge.

Also, as I’m looking through the viewfinder and shooting, it’s interesting to me because I keep looking at the LCD—I shoot and I look and I shoot and I look. And that process is great. But I keep thinking that I want to see it in the viewfinder… but of course I can’t because it’s not electronic. So I’m missing that.

Hasselblad 907X Hands-On Review and Vintage Lens Test 31

Vintage Lens Test

Next, we’re going to look at some shots we did with all the different lenses. I have three lenses. There’s a 40mm, an 80mm and a 120mm, and we also used the 65mm that came with the 907X. We wanted to look at the different styles and how those lenses resolve. Do they resolve as well as new style lenses? It’ll be interesting to see. I’m very curious.

These Hasselblad lenses are legendary, they’re beautiful, but they were designed for film and film is generally softer. Though, if you get into the medium format world there is a LOT of resolution to play with. So it’ll be interesting to look at how those two things balance out.

Hasselblad 907X Hands-On Review and Vintage Lens Test 33

This is a 40mm. It’s worth noting that I dropped this lens and send it into Hasselblad for repairs at one point. And when I say I dropped it, it wasn’t like it dropped a couple feet. It dropped 20 feet out of a crow’s nest for shooting straight down onto the concrete floor. It was on the 500CM camera at the time, so it messed up my camera a little bit, but Hasselblad fixed it.

There are some weird things going on with the out of focus areas. It just feels really smudgy to me. But it’s kind of fun. It’s a nice lens. Not a lot of edge sharpness.

Hasselblad 907X Hands-On Review and Vintage Lens Test 35

Here we have the 65mm. So this is the most modern lens of the bunch and you can tell immediately, even without zooming in or anything. The contrast is a little stronger and the edges are sharper.

And then when you do zoom in, it’s just a very crisp lens. We don’t have the chromatic aberration on it. Look at those pillars in the background with the bright lights on them:

Hasselblad 907X Hands-On Review and Vintage Lens Test 37

If you look at the next one, you can see a difference in that that older lens (the 80mm). You see that halo along those highlight edges. And the contrast is a little lifted:

Hasselblad 907X Hands-On Review and Vintage Lens Test 39

Hasselblad 907X Hands-On Review and Vintage Lens Test 41

What is kind of amazing if you go back and forth between these two though, is that the overall color is pretty much the same. That lens is doing its job, even though they are old lenses.

Hasselblad 907X Hands-On Review and Vintage Lens Test 43

And now here’s a quick look at the 120mm. I love this picture. And it is sharper. You can see it in the background and then you can really see it in his further eye if you zoom in to 100%.

Hasselblad 907X Hands-On Review and Vintage Lens Test 45

Hasselblad 907X Hands-On Review and Vintage Lens Test 47

Finally, we’ve talked a lot about shooting with the vintage lenses, but we also wanted to look at comparisons that show the results you can get with the new lens. So here’s a couple of images that we’re looking at from the new lens—some auto focused, and some manual focused:

Hasselblad 907X Hands-On Review and Vintage Lens Test 49

Hasselblad 907X Hands-On Review and Vintage Lens Test 51

Conclusions

My sense about this is this is an incredible offering, and people who have been in photography for a long time are going to buy this. They’re going to be using it on their old systems that they are shooting film with already. I also think some wedding photographers will start shooting on this just because it looks cool.

I think it’s the most affordable camera back we’ve ever had for medium format, and that is an incredible step. I think with this and the X1D, as a natural light shooter, you simply can’t beat the dynamic range. It gives you open shadows that you can work with and even holds the highlights. I just think it gives you a lot of options there.

On the down side, it is a little bit slow and a little bit more deliberate than using the camera where you’re looking for the viewfinder and you’re shooting away.

So, ultimately, a great offering from Hasselblad. I’m just so excited that they’re coming out with great products and the market is responding to them. I think the 907x system is a very interesting and innovative idea. I’m glad they did it. And I would love to see other camera companies do interesting stuff like this.


About the author: Jay P. Morgan is a commercial photographer with over two decades of experience in the industry. He teaches photography through his company, The Slanted Lens, which runs a popular YouTube channel. This article was also published here.

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Mitakon Speedmaster 17mm F/0.95 Lens Review From David Thorpe

Mitakon Speedmaster 17mm F/0.95 Lens Review From David Thorpe

The Mitakon Speedmaster 17mm f/0.95 is a fast wide-angle lens for Micro Four Thirds and David Thorpe has been putting it to the test.

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Interchangeable Lenses

 

Micro Four Thirds fan David Thorpe has got his hands on the Mitakon Speedmaster 17mm f/0.95 lens to find out if it’s the ‘do-it-all’ prime lens it’s widely regarded to be. 

The Mitakon Speedmaster 17mm f/0.95 is a manual focus lens with a remarkably low price and an f/0.95 aperture. At one point, this aperture would have been a standout feature but nowadays, there are many more f/0.95 lenses around than there were, especially for Micro Four Thirds cameras, where the extra depth of field makes them more practically useful at full aperture.

David says he’s come to expect a trade-off in overall performance to get the full-stop advantage over but he says there’s little evidence of this with the Mitakon lens. 

“It’s a handsome piece of glass that’s subtly built in the manner of Nikon film lenses of old,” Says David. 

As normal, David shares example images, as well as his opinion on the lens, so do click ‘play’ on his video above so you can hear his full thoughts and see how the Mitakon Speedmaster 17mm f/0.95 lens performs. 

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Samyang Lens Simulator Review | ePHOTOzine

Samyang Lens Simulator Review | ePHOTOzine

Samyang Lens Simulator Screenshot Revised 8

The newcomer to photography can easily be totally bewildered by the mass of technical terms thrown at them. Some of it is downright confusing and contradictory, such as having a 35mm lens on an APS-C camera that has a “35mm equivalent” of 50mm on 35mm format full-frame… it could sound like jibberish to someone trying to make sense of it all for the first time.

So anything that can help ease the beginner into more sensible lens choices has to be a good thing, and Samyang has created a simple online tool that aims to do just that. The Samyang Lens Simulator allows us to dial in the focal length, format and focusing distances for both generic and specifically for any available Samyang lenses. We can, in theory, see the effects of focal length and depth of field and perhaps this can guide us into more sensible lens choices beyond the first “kit zoom” that we are likely to have bought with the camera body.

Traditional advice would be to learn the use of that first lens thoroughly and then become aware of what we were wanting to achieve. This learning process would reveal its limitations. So, if we constantly were seeking to shoot interiors and wide landscapes, that would indicate that the next lens should be a wide-angle. If we wanted to shoot wildlife and sports then we would need a telephoto. But of course, the question would still hang there as to how wide a wide-angle and how long a telephoto, so perhaps Samyang’s new online tool can help to make the advice a little more specific?

Let’s have a close look and see how it fulfils its objective.

 

Samyang Lens Simulator Features

Samyang Lens Simulator Screenshot Revised 1 |
Screenshot 1

Screen 1 shows the opening screen of the simulator. We can enter Background 1, 2 or 3 depending on taste. We can also select full-frame, APS-C or MFT format. The other choices are focal length, aperture and distance. Finally, the search function will bring up any appropriate Samyang lenses and clicking those will reveal more information about that lens.

 

Samyang Lens Simulator Screenshot Revised 2 |
Screenshot 2

The first anomaly we see is regarding the distance setting. Screen 2 shows the distance being changed from 5m to 10m and sure enough the depth of field indication changes accordingly. However, our model shrinks alarmingly whilst the background remains a static backdrop. Perspective is a function of our distance from the subject and therefore the background should change as our position changes. The simulator doesn’t do this, but then again perhaps that is expecting too much sophistication from a simple idea.

 

Samyang Lens Simulator Screenshot Revised 3 |
Screenshot 3

Changing to a crop sensor camera setting and also changing the focal length to an appropriate standard lens for the format, 35mm in this case, we find as on Screen 3, that we get more depth of field at the original 5m distance, which is what we would expect. That seems to work out and continues to do so when set for MFT format as in Screen 4.

 

Samyang Lens Simulator Screenshot Revised 4

Screenshot 4

 

Samyang Lens Simulator Screenshot Revised 5 |

Screenshot 5

Going back to a 50mm lens on full-frame, Screen 5 shows Background 2 which is just strange. Changing the parameters to a 20mm lens, Screen 6, reveals the full stature of an apparently miniature model and this is probably unhelpful as an aid to lens choice.

 

Samyang Lens Simulator Screenshot Revised 6

Screenshot 6

Selecting, for example, full-frame 50mm lenses, the search function brings up four choices as shown in Screen 7. Selecting any of the lenses then brings more information and scrolling down reveals full technical specs plus MTF graphs. A neat idea indeed.

 

Samyang Lens Simulator Screenshot Revised 7 |

Screenshot 7

Samyang Lens Simulator Verdict

This is absolutely a brilliant idea, no doubt about that, and in a simplistic sense, it could be very useful to show the different magnifications of different lenses or to give an idea of the field of view. The problem arises placing the model over the backgrounds and this probably confuses more than helps. It is a laudable objective to try and show various parameters of lenses in a simple simulator, but the result here is not always quite right.

If anything, perhaps this should have another layer of sophistication as some of the resultant images show some very strange relationships between model and background.

In our lens reviews, we show various aspects of how a lens behaves, for example showing sequences that illustrate the bokeh at all apertures. This also shows the depth of field effects. The real-life images are of course exactly that, so we don’t end up with tiny models seemingly dwarfed by huge grasses.

 

Samyang AF 75mm f/1.8 FE Aperture range

 

The reviews also make sure to include images that are appropriate to the lens being tested. For example, a macro lens would need close up shots and a portrait lens would explore people photography.

 

Samyang AF 35mm f/1.4 FE Portrait

Samyang AF 35mm f/1.4 FE Portrait

 

However, Samyang’s Lens Simulator, whatever its imperfections may be, does have a place and kudos are due to Samyang for creating a tool that with perhaps further development could be a powerful assistance to novice lens buyers.

We’re told that Samyang are already working on V2 of the Lens Simulator, so we hope to see further improvements.

You can try the Samyang Lens Simulator out for yourself over on the Samyang website. There’s also a tutorial on how to use it available on YouTube by John Sison.

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Wotancraft Pilot Lightweight Modular Camera Sling Bag Review

Wotancraft Pilot Lightweight Modular Camera Sling Bag Review

David Thorpe has been putting the Wotancraft Pilot configurable camera bag to the test to find out if it’s the perfect bag for him and his kit.

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Bags, Cases and Straps

 

David Thorpe can usually be found reviewing Micro Four Thirds lenses and cameras but this time, he has turned his attention to a premium camera bag that can carry his MFT gear. 

On test is the “Pilot” travel camera bag from Wotancraft which is constructed from Cordura which makes it lightweight but durable and it has room for 1 camera body, 3 lenses and a laptop. Several pockets are built-in along with a luggage strap, tripod straps and a padded shoulder strap. 

“Sometimes I want to travel light with minimal kit and sometimes I want to take the whole caboodle with me. The Wotancraft Pilot is configurable to suit either use while keeping its own weight to a minimum,” says David.

Hit ‘play’ on the video above to see what else David has to say on the “Pilot” travel camera bag from Wotancraft. If you want to see what else Wotancraft has to offer, have a look at our review of the Wotancraft Ranger in the Premium Camera Bag round-up.

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Canon EOS R6 Review | ePHOTOzine

Canon EOS R6 Review | ePHOTOzine

Canon EOS R6 (15)

The Canon EOS R6 is Canon’s new 20mp full-frame mirrorless camera, designed for stills photography and 4K 60/50fps video… it has a price tag of £2499 body only, which makes it more expensive than the 30mp EOS R (RRP £2349), and much more expensive than the entry-level 26mp EOS RP. (£1219). However, as the R and RP are in short supply, the best way to look at the Canon EOS R6 is to ignore the EOS R, and EOS RP, and think of it as the new entry into the EOS R market, and with a 20mp full-frame sensor, it should give good low-light performance, with low noise levels.

Canon EOS R6 Features

Canon EOS R6 (3)

People often complain about the “low resolution” of the 20mp Micro Four Thirds cameras, and then along comes Canon with the 20mp EOS R6. Is there really that much difference between a 20mp sensor, and a 24mp sensor? There’s not a lot in it, as you’re talking about the difference between a 5568×3712 pixel image and a 6000×4000 pixel image. That’s just an extra 500 pixels along the top, and 300 pixels along the bottom, hardly a big deal.

If you want maximum resolution, then have a look at the 45mp Canon EOS R5, 45mp Nikon Z7, 47mp Panasonic Lumix S1R, and 61mp Sony A7R Mark IV, but if you want speed and low-noise, then 20mp is a good starting point. (There are a number of other cameras with a 20mp sensor, including the Nikon Z50, 20mp, Canon EOS 7D II, 20mp, EOS 1DX III 20mp, to name a few).

Camera / and Photography Features:

  • 20mp Full-frame CMOS sensor
  • Sensor-based image stabilisation (IBIS) – works with any lens
  • 3.69m dot electronic viewfinder (EVF), 0.76x magnification
  • 3.0inch vari-angle touch-screen, 1.62m dots
  • 12 / 20fps continuous shooting (mechanical / electronic)
  • ISO100 to ISO102400, Low ISO50, High ISO204800
  • 6072 autofocus points/positions
  • Dual Pixel CMOS AF
  • Face and Eye-AF tracking
  • Built-in Wi-Fi and Bluetooth
  • Dual SD card slots

The camera has DSLR styling and is more traditional looking when compared to the original Canon EOS R. It uses an updated version of the standard LP-E6N battery, the LP-E6NH battery, allowing for backwards compatibility, but with the new battery, it also allows in-camera charging.

Video features aren’t up to the same level as the R5, but still offer a good range of features, outlined below.

Video Features:

  • 4K UHD 60/30/25/24fps
  • FullHD High-speed 120/100fps
  • HDR FullHD Video

Canon EOS R6 (11)

 

The camera uses the RF-mount, and Canon has been introducing new lenses rapidly, giving a wider choice of lenses, in addition to letting you use an EF-RF adapter so that you can use your EF lenses with the camera. However, it’s worth noting that there are still a relatively limited number of smaller lenses, with most being aimed at the professional market.

You’ll find a traditional mode dial on top of the camera, letting you still switch between the standard P, Av, Tv, M shooting modes, giving you manual controls, and in addition, there is Canon’s Fv (Flexible Priority AE shooting) mode, Bulb, Automatic, and three custom modes.

Wi-Fi (2.4ghz) and low-power Bluetooth are built-in letting you connect the camera to your smartphone or tablet, to transfer images and video or control the camera remotely. You’ll need to put Canon’s Camera Connect app on your device.

 

Canon EOS R6 (12)

Key Features

  • 20mp full-frame CMOS sensor
  • Dual Pixel CMOS AF II
  • Up to 20/12fps continuous shooting
  • In-body Image Stabilisation (up to 8-stops)
  • ISO100 to ISO102400 (ISO50/ISO204800 extended)
  • 4K UHD 60fps video recording
  • FullHD video up to 120fps
  • 3.69million dot EVF, 0.76x magnification
  • 3.0inch 1.62million dot vari-angle touch-screen
  • Dual card slots (SD UHS-II)
  • Weather-resistant
  • Wi-Fi (2.4GHz), Bluetooth

 

Canon EOS R6 Handling

Canon EOS R6 (6)

Handling – The camera weighs in at 680g (slightly less than the 738g of the R5) with battery and memory card. You can find some smaller RF lenses available for the RF-mount, but many are large and heavy lenses.

The Canon EOS R6, much like the R5, has great ergonomics, with a large, comfortable handgrip, as well as a plentiful covering of rubber grip. This makes the camera easier to hold with one hand, although, with larger lenses like the 24-70mm f/2.8 attached, you will want to use two hands. Build-quality is excellent, with the camera feeling extremely solid and well-made.

The mode is switched using the Mode dial on top of the camera, and you’ll find the video mode easy enough to find, with its own setting on the mode dial. You’ll find an M-Fn button on top of the camera, and this multi-function button can be customised, as well as a number of other buttons, so that you can set up the camera to your own personal preferences.

In terms of controls, the EOS R6 looks very similar to other Canon EOS cameras, and you’ll find all the main controls in all the usual places, including a handy joystick near where your thumb lands when holding the camera. There’s nothing really to complain about here, everything is where you expect it to be especially if you’re a Canon user.

Canon EOS R6 (14)

The camera includes animal (cats, dogs and birds) and people detection for autofocus, and you can select what you want the camera to prioritise. With this, the camera can also focus on the subject’s eyes, whether it’s a human or an animal you’re pointing the camera at. There are 6072 focus areas, covering almost the whole sensor, meaning you can get your subject in focus throughout the frame.

What is the AF-EV range? With an excellent autofocus EV range, down to -6.5 EV, the camera can focus well in low-light, and indoors. You also get numerous AF menus full of options to customise your focus, with Canon’s AF Cases available, with further customisation of tracking sensitivity available, and acceleration/deceleration tracking. If this is all a bit too complicated, then you can also use the new Case A – Automatic setting where the camera will automatically decide on the best settings for you.

Display – The screen is a 3.0inch vari-angle touch-screen, with 1.62million dots. It looks great and makes it very clear and easy to see what you’re shooting, and the options are also very clear. If you’re using the screen to change settings or adjust the focus position, then this can leave fingerprints on the screen, however, there is an anti-smudge coating, so this isn’t as bad as some camera screens. Viewing angles are good, and as you can tilt the screen when needed, it makes it easier to position to reduce glare when outside in bright conditions.

There’s a good amount of space on the side for the ports, however, if you do use them, then it’s likely the cables will block your view of the screen, if you’re using it for vlogging. The Canon EOS R6 does not feature the top LCD display, for that, you’ll need to look at the EOS R5. It’s also worth noting the EOS R5/R6 has a Micro HDMI out, rather than a full-size HDMI out.

Dual SD card slots mean you can record photos to both cards at the same time if you wanted, giving you extra safety for precious moments.

Canon EOS R6 (18)

The Electronic ViewFinder (EVF), has a high-resolution of 3.69million dots, with 0.76x magnifications, and dioptre correction. There’s an eye-detection sensor so the camera will automatically switch between the rear screen and the EVF when needed. The EVF is excellent, with a high resolution, a good refresh rate, and great colour reproduction. You can still tell that it’s an electronic viewfinder, as your eye will still see more dynamic range through an optical viewfinder.

Canon EOS R6 (16)

The menus are clearly laid out and will be familiar to anyone who has used another Canon camera in recent years. Each section is colour coded to help aid navigation. You can use the touch-screen to select options in the menus. If you switch to the video mode (using the INFO button, after you’ve pressed the Mode button), then you’ll get a set of video-focused menus and options.

Battery life is rated at 510 shots when using the LCD screen, however, this drops down to 380 shots when using the electronic viewfinder (EVF). So it’ll be important to watch your battery if you mostly use the EVF. You can connect a USB-PD power bank, using the USB Type-C connection to charge and power the camera, as long as you’re using the provided LP-E6NH battery. If you’re concerned about battery life, then the optional BG-R10 is available and supports two batteries.

Canon EOS R6 (10)

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Canon EOS-1D X Mark III Review

Canon EOS-1D X Mark III Review

Canon EOS 1DX MarkIII (12)

The Canon EOS-1D X Mark III is Canon’s professional full-frame DSLR. If you’re looking for high-speed 20fps shooting, 5.5K video, extended battery life, and a tough weather-resistant camera body then the 1D X III could be for you, although you’ll need to factor in the price, as this camera is priced at roughly £6499 body only.

Canon EOS-1D X Mark III Features

Canon EOS 1DX MarkIII (13)
If you’re the kind of photographer who shoots sports, wildlife, or low-light photography then the Canon EOS-1D X Mark III could be the dream camera for you, particularly if the additional size will help balance a large telephoto lens. Helpfully the Canon EOS-1D X Mark III has a large battery that allows for an impressive 2850+ shot battery life, is weather-sealed and “built like a tank” as they say.

 

Canon EOS 1DX MarkIII (2)
 

It’s been four years since the Canon EOS-1D X Mark II was released, and in that time Canon has updated a number of things in the new camera. Both cameras have a 20-megapixel sensor, however, the Mark III offers a higher ISO range up to 102,400 or ISO819,200 extended. Continuous shooting speed has also been improved with 16/20fps available, 16fps with the optical viewfinder, and 20fps when using live view – with AF! AF has been improved, and battery life has been dramatically improved with 2850 shots on offer.

Canon EOS-1D X Mark II vs Mark III – some of the key improvements:

  • 3.2inch screen with 2.1m dots (vs 1.62m)
  • 191 AF points (vs 61), 155 cross-type, 3869 in live-view
  • 500,000 shutter life rating
  • Updated sensor with an improved low-pass filter
  • Video: 5.5K raw (60p, 12-bit), 4K DCI (60p) – full width DCI
  • Built-in stereo microphones (vs mono)
  • Wi-Fi / Bluetooth built-in
  • High-speed Gigabit Ethernet and USB C
  • CFexpress support (dual-slot)
  • 1.44KG (vs 1.53KG)

 

The auto-focus system has been updated and now features “deep learning AF” with there being a new Auto setting for the focus scenarios. The AF system features 191 AF points in OVF, with 155 cross-type AF points, with face/head detection. This increases to 3869 in live-view, with Dual-pixel AF built-in to the sensor, and eye-detection AF available. Focus sensitivity has been improved with AF down to -4EV or down to -6EV in live-view.

Video recording has been improved, with 5.5K raw video recording available as well as CINE-4K / 4K UHD video at up to 60fps, and there are built-in stereo microphones. On the side, you’ll find the microphone and headphone sockets, and internally the camera offers digital image stabilisation.

Canon EOS 1DX MarkIII (14)
 

Key Features

  • 20.1 megapixel full-frame CMOS sensor
  • 20fps continuous shooting (live-view), 16fps (OVF)
  • 500,000 shot shutter life rating
  • 100% Optical Viewfinder (OVF), with 0.76x magnification
  • 3.2inch touch-screen, with 2.1million dots
  • 191/155 point AF, -4 EV
  • Flicker Detection for artificial lighting
  • 4K 60p / 5.5K raw video
  • Movie Digital Image Stabilisation (IS), image area reduced by 10%
  • Built-in stereo microphones, mic and headphone sockets
  • ISO100 to ISO819,200, Lo 50
  • Wi-Fi and Bluetooth
  • GPS / GLONASS / QZSM built-in
  • Up to 2850 shots battery life (OVF, 23C)
  • Weather-sealed magnesium alloy body

 

Canon EOS-1D X Mark III Handling

Canon EOS 1DX MarkIII (1)

Handling – The Canon EOS-1D X Mark III has a large, solid build quality, and the significant weight gives the camera a noticeable presence. To anyone familiar with the earlier versions of this camera, then the Mark III will be immediately familiar, with almost all buttons being in the same location, and almost all looking the same, however, the AF-On button has changed slightly.

There are four customisable front buttons. There’s a top customisable M-Function (multi-function) button. The handling is exceptional with a large handgrip with ample rubber grip, whether you’re using the camera in landscape or portrait mode. The shutter release button falls into place, or rather your finger falls into place, thanks to the ergonomic layout of the shutter release button. On top, you’ll also find quick access to ISO, WB, and exposure compensation, something we wish all cameras would feature.

What is the AF-EV range? With a good autofocus EV range, down to -4 EV, the camera can focus well in low-light, and indoors. When using the OVF you will find that the AF points are in the central area of the frame, and to get (almost) full coverage of the frame, you’ll need to switch to live-view.

If you switch to live view shooting you can select from any area of the screen, and the AF tracking will cover almost the whole frame (with 100%/90% coverage). AF tracking was particularly impressive. You can use the new AF-on button to adjust the AF position by simply moving your thumb over the AF-On button. You can also use the joystick.

There are numerous AF options, with a number of AF shooting scenarios which can be customised, as well as an intelligent Auto mode for when the shooting situation may change. Whilst the camera has built-in help that will give you guidance as to what each option is for, close studying of the Canon manual is recommended so that you are familiar with the multitude of focusing options.

There is a top LCD screen with key shooting information, which can be illuminated. New to the Mark III is a number of illuminated backlit buttons on the back of the camera, which illuminate when you press the light button on top.

The optical viewfinder (OVF) is large and clear and gives a good view of the scene, as well as useful shooting information, without the need to take the camera away from your eye. The optical viewfinder is large and bright and can be customised to show a number of useful things, including a dual-axis electronic level and shooting settings, as well as an anti-flicker warning.

Canon EOS 1DX MarkIII (5)
The screen looks very good with a high resolution and very good viewing angles. The touch-screen has been improved, to let you go through the menus and change settings.

The camera menus have a vast range of options and are neatly arranged into colour-coded sections making it easier to find the settings you want to change. You can also customise the “MyMenu” menus with your favourite settings and these can be renamed so that you can set up certain menus for specific shooting scenarios. You can take audio memos if you want.

Canon EOS 1DX MarkIII (6)

Battery life – Battery life is rated at 2850 shots according to Canon / CIPA test results when using the OVF, which is very good for a DSLR, and an improvement over the Mark II.

There are two CFexpress (Type B) slots, and you’ll need one of these memory cards for use with the camera. Side ports include a full-size HDMI port, USB Type-C, Ethernet, Flash sync, remote release connection, mic, headphone sockets, and WFT (allowing you to add the Wireless File Transmitter WFT-E9).

 

Canon EOS 1DX MarkIII (8)
 

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Sigma 85mm f/1.4 DG DN Art Lens Review

Sigma 85mm f/1.4 DG DN Art Lens Review

Sigma 85mm f/1.4 DG DN Art
 

85mm is of course the classic focal length for a portrait lens, the working distance being perfect to ensure a pleasing facial perspective. It also means that the photographer is not crowding the model, but is close enough for proper communication. This represents an excellent balance of properties that have always been seen as ideal. 85mm lenses have also been the pinnacle of the lens makers’ art within any range, and what better marriage than this basic ethos coupled with the Art designation in Sigma’s new lens. The Art range of lenses also aspires to be the pinnacle of Sigma’s lens making abilities, which have been well established for many decades. Here we couple the new lens with the 42MP Sony A7R III full-frame body, so let’s see what that combination is capable of.

Sigma 85mm f/1.4 DG DN Art Handling and Features

Sigma 85mm f/1.4 DG DN Art
An 85mm f/1.4 lens is inevitable a chunky item and this lens is no exception, but it is more compact than many other lenses of the same specification. It also weighs in at a relatively modest 625g (Sony FE fit) or 630g (L mount fit). Balance and handling are very satisfactory.

A large round bayonet fit lens hood is provided. This offers excellent shading of the front element and also good protection against accidental knocks to the front of the lens. The hood bayonets securely into position and a locking catch ensure that it stays put. The catch does not protrude so there is no danger of it being accidentally pressed, for example in a camera bag. Within the bayonet, fit is a standard 77mm filter thread.

There is a wide manual focus ring that operates electronically. It is very nicely damped. AF is virtually silent and very snappy, using a stepping motor to achieve efficient and accurate focusing. The minimum focus distance is 85cm, or 2.79 feet, giving a maximum magnification of 1:8.4. This is exactly what we would expect from a traditional 85mm lens.

There are a number of switches. The AF/MF switch is self-explanatory. The AFL button locks the focus position in AF mode. Some camera bodies may make this button programmable. There is a click on/off button that controls the aperture ring. The off position gives seamless, smooth and silent aperture control, making it ideal for videographers. On the opposite side of the lens barrel, there is an aperture lock ring. When set to “A” this lock makes sure the setting does not move off A. When set outside the A mark, the lock prevents the A setting from being inadvertently engaged when the aperture ring is being used.

Sigma 85mm f/1.4 DG DN Art
 

Closest to the camera body is the aforementioned aperture ring, beautifully engineered. One-third of a stop click stops are available if required, engraved with very high precision. Finally, the brass bayonet fitting is well made and fits securely on the camera body.

Optical construction is 15 elements in 10 groups. There are 5 SLD (Special Low Dispersion) and 1 Aspherical element. For the environmentally aware, the glasses used contain no lead or arsenic. The diaphragm comprises 11 blades, to give a rounded aperture and the best possible bokeh. As well as Sigma’s usual multi-coating the front element has a water and oil repellent coating.

The lens is billed as being dust and splashproof, and for once we have an explanation of what that means. Sigma states that it is usable in light rain but not waterproof. We are still left to define light rain for ourselves, but let’s give credit where it is due and at least Sigma has provided a guideline.

There is no built-in vibration reduction and this is covered by the Sony SteadyShot feature within the camera body.

Handling in a general sense is pretty well faultless. AF is nice and snappy, exposure is spot on, all the operations are smooth and slick. Like all good lenses, the Sigma is also a pleasure to handle, a gorgeous tactile experience. It’s a lovely lens. The only negative is that the features available from programming seem to be dependent on the camera body used and on the A7R III these are blocked out of the menus. It is probably a small price to pay for the other advantages of the lens.

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Loupedeck CT Photo & Video Editing Console Review

Loupedeck CT Photo & Video Editing Console Review

Features
Performance & Handling
Verdict

Loupedeck CT
 

The Loupedeck CT is an editing console that puts customisable controls, dials and buttons at the fingertips of photo/video editors as well as those who edit music or use design software. It looks cool, can be easily adapted to suit whoever is using it and as the Loupedeck original proved, it will speed up your workflow but at £469, is it a worthwhile investment? Let’s find out. 

 

Loupedeck CT Features

Loupedeck might be considered a relatively small brand but big things have come from them over the last few years with the Loupedeck original, Loupedeck+ and now the Loupedeck CT grabbing the attention of photo and video editors. 

We liked the original Loupedeck but with it limited to editing in Lightroom, it wasn’t a tool for everyone so Loupedeck introduced compatibility with a number of leading video and photo editing software when the Loupedeck+ was released. This was great for photographers but the overall size of the console made it something that was a bit awkward to use on a desk alongside a keyboard/mouse or remotely with a laptop and that’s where the Loupedeck CT (Creative Tool) steps in as its smaller size makes it much easier to fit on desks. Plus, it’s also compatible with graphics and sound editing software. 

The full list of software the Loupedeck CT is compatible with includes:

  • Adobe Lightroom
  • Adobe Photoshop CC with Camera RAW
  • Capture One Pro
  • Plus, various graphics, sound and video editing software

With additional software compatibility and the ability to customise every control on the Loupedeck CT console, it makes it a very powerful photo editing tool as, after all, we all have different workflows so having the ability to shape a tool exactly as we need it to work is a big plus point that can save time and make simple edits even simpler. 

As with the original Loupedeck, you get buttons and dials you can press and twist to select/use tools in whatever software you’re working in. There are no longer small adjustments wheels but you do get a big wheel with a touchpad sitting in the middle of the console. As mentioned, all of the buttons and dials are fully customisable and their function will change depending on what application you are working with. You’ll see from the photos that there are plenty of dials and buttons for you to customise or, if you prefer, you can stick with the preset workspaces the Loupedeck has as soon as you take it out of the box and plug it in. 

You have to use the provided USB-C cable to connect the console to your PC/Mac and there’s downloadable Loupedeck software available which you use to configure the CT. You still need your mouse for some selections and to move the cursor but your keyboard can have a rest. If you do find you need to use the keyboard, you can easily switch between it and the CT, though. 

The Loupedeck CT is available now for £469. 
 

Loupedeck CT Key Features

  • Fully customisable
  • Logical organisation of tools
  • Compact size & ergonomic 
  • Compatible with various software
  • Fun to use
  • Looks smart 
  • Faster editing workflow

 

Loupedeck CT Performance & Handling 

Loupedeck CT
 

The first thing we want to say about the Loupedeck CT is how cool it looks! It’s also a much better size than the Loupdeck+ which is still a great tool but when you have a keyboard, mouse, mug of tea, diary, smartphone… etc. on your desk, it did make it a bit of a squeeze. With the CT, the compact square shape means it can sit to the side of your keyboard or indeed in front of your monitor if you prefer. It also fits nicely in a bag should you need to work remotely. 

Another big ‘plus’ point is the overall build quality of the CT which Loupedeck are proud to discuss on their website. It features an aluminium cover, all buttons/dials are constructed well and the weight behind it reassures you that it’s of excellent quality. 

All of the buttons are backlit and use a colour code so you know what tools are associated with each other and the dials rotate with a click/resistance that lets you know it’s turning. You can also press the dials and when you do, you’ll hear a similar click – it’s a small detail but one that we appreciate. The main dial rotates as smoothly as the other dials and the touchscreen in the centre of it responds well. Although, it would have been nice to see some sort of forced feedback on the larger dial so you can make slight movements to specific tools as well as quickly move the dial around to rotate through tools faster. 

The CT is powered by a supplied USB-C cable which we found to be a little on the short side and had to find an adapter to use with it to ensure it could reach the PC tower while remaining securely on the desk. It would also be nice if the console could work wirelessly via Bluetooth as this would eliminate the need for the cable. 

To customise the CT you need to download the Loupedeck software which is freely available from the Loupedeck website. Once downloaded, you can select which Loupedeck you are using along with the software you’ll be working in. 

 

Loupedeck CT
 

With so many options available when it comes to customisation, we recommend you read the manual or the instructions that you can access in the software as you can soon get lost down the rabbit hole of configuration if you try to figure it out on your own. That said, it does come set-up with preset workspaces dedicated to every step of the editing process, with commonly used functions like colour grading, retouching, editing and more so you don’t actually have to make any adjustments to get going out of the box. If you do choose to make your own workspaces, you can make as many as you like and organise them how you see fit. 

If you’ve not used a Loupedeck before, they can take some getting used to but like with any device, after a few days of use, you’ll soon be adjusting workspaces in the software and moving dials to apply effects to your photos. 

As with previous Loupdecks, the CT has been built in an intuitive way and it doesn’t take long to get to grips with how it works. We’d actually recommend having a play around with the CT as Loupedeck has set it up then once you get a hang of the controls, take a look at how they can be customised to suit your workflow better.

To change a button’s function, all you need to do is open the software, select the button you want to change on the on-screen CT representation and then select the action you want to apply to it from the options found to the left. 

 

Loupedeck CT

 

Once you customise the CT, it really does help speed your workflow up as you can have presets ready and just move through the software with much more speed. Some adjustments/selections are more accurate and easy to do, too, such as picking a colour via the LCD on the main central dial or using the touchscreen at the top of the CT to add a layer adjustment. Creating a black & white adjustment layer was as simple as a ‘click’ as was creating a new layer and layer mask from the main dial. 

As you don’t have to move your mouse cursor from one side of the screen to the other when switching between tools, edits soon become quicker and the whole editing process just feels slicker. 

Overall, the Loupedeck CT is an excellent editing console that professional photo editors will certainly find useful. 

 

Value For Money

The Loupedeck CT is available now for £469 or, alternatively, you could look at the Loupedeck+ for £219 but it’s not as compact and doesn’t look quite as slick. You could also have a look at the Tangent Arc or TuneShark consoles but we’ve not reviewed these products so can’t comment on how good they are. Alternatively, you could look at a Wacom graphics tablet that’s designed for photo editing with a supplied pen. 

 

Loupedeck CT Verdict

The Loupedeck CT is a very cool photo editing console that looks great on your desk and does the job it’s designed to do which is speed up your workflow. Professional photo retouchers will find it particularly useful but there’s no reason why someone who takes photos for fun wouldn’t find it a beneficial tool if they think the investment is worthwhile. 

The console does take some getting used to but once you do, it becomes intuitive to use and the fact that every dial, button and control is customisable really does mean you can shape it to suit your exact needs. Plus, the fact that it’s now compatible with multiple software is a big plus point. The reduced size and shape are also great as not only does it fit on your desk more easily, you can also carry it in a bag and work remotely with it if you need to. The provided power cable is a bit too short, in our opinion, and it’s a shame the device isn’t wireless (yet) but these are the only 2 major snags we have with the photo editing console. 

Those who are pretty confident and quick at using a mouse/keyboard/shortcut combo for photo editing might wonder why they need a Loupedeck CT but after a while, we are sure that you’ll find that it can quicken your workflow and make tasks just that bit easier. However, it does come at a cost as £469 is a big investment when you compare it with a mouse and keyboard but its smooth operating in Lightroom and Photoshop could make it something that grabs a photographer’s interest. 

We like the Loupedeck CT a lot, it’s fun as well as practical and we’re happy to ‘Highly Recommend’ it.  

 

Loupedeck CT Pros

  • Easy to use
  • Speeds up the editing process 
  • It’s a lot of fun 
  • Intuitive 
  • Looks great
  • Portable and small in size
  • Fully customisable
  • Excellent build quality
  • Compatible with lots of software

Loupedeck CT Cons

  • The price might be high for some 
  • The provided USB-C cable is very short
  • Not wireless 

 

System Requirements 

  • Windows 10
  • MacOS 10.13+
  • USB 2.0 A (USB-C to USB-A cable included in box)

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Samyang AF 35mm f/1.8 FE Lens Review

Samyang AF 35mm f/1.8 FE Lens Review

1/4 sec | f/16.0 | 115.0 mm | ISO 100
 

An obvious companion for the Samyang AF 75mm f/1.8 FE lens, the 35mm offers a similar design ethos and gels well as a pair of focal lengths. For many photographers, the 35mm/75mm pairing could be very appealing, perhaps particularly for street/reportage work. The trend away from huge bulky lenses is a refreshing change, avoiding getting too bogged down with weighty kit, and taking advantage of the potential for reducing the size of lenses for full-frame mirrorless cameras. This light, compact optic continues a new tradition of smaller, lighter lenses, so let’s match it up with the 42MP Sony A7R III and see what it can do. 

Samyang AF 35mm f/1.8 FE Handling and Features

0.3 sec | f/16.0 | 68.0 mm | ISO 100
 

The lens is compact and it is certainly light at 210g without caps or hood, thanks to the judicious use of high-quality plastics. It sits well on the Sony A7R III, handling superbly and without fuss. As well it might, as there is very little on the lens to operate.

Starting our usual tour of the lens, there is provided a well-fitting petal lens hood that bayonets securely into place. There is no need for a locking catch as the hood is highly unlikely to work loose. Within the bayonet fit for the hood is a conventional 58mm filter thread. The lens has the usual Samyang UMC coating, which is highly effective at preventing flare. We also have weather sealing, almost an essential feature, and Samyang put a standard to this by defining that the lens has resistance to dust, light rain and snow.

The control ring is electronic in operation and operates totally smoothly, with just the right amount of moderately firm resistance. Behind the ring is a switch that controls the function, marked Mode 1 and Mode 2. Mode 1 and it is a focusing ring, operating in the same way as all others on Sony cameras. That is, we have AF options plus MF and DMF (Direct Manual Focus) where manual teaks can be made whilst in AF mode, controlled via the camera menus. Mode 2 turns the ring into a clickless aperture ring and this could be of huge benefit to video shooters. The aperture operation is as whisper quiet as the AF. Minimum focusing distance is 0.29m, or 0.95 feet, giving a maximum magnification of 0.17x. The AF operation is definitely close to silent, using a highly accurate and fast Linear STM motor.

 

1/4 sec | f/16.0 | 115.0 mm | ISO 100
 

 

Optical construction is 10 elements in 8 groups. There are 2 Aspherical and 2 Hybrid Aspherical elements. Hybrid aspherical elements are resin aspherical surfaces bonded to glass elements. All this bodes well for performance. To aid in creating pleasing bokeh, there are 9 blades to the diaphragm, offering a circular aperture.

The package of the Sony body plus the 35mm lens could be considered very close to the ideal for street photography, although obviously there are many other applications. For the street, although currently opportunities are limited because of lockdowns, the lens and camera are unobtrusive and really don’t get noticed at all. It is also very versatile as a general-purpose lens, often preferred to the 50mm as a standard optic.

1/5 sec | f/16.0 | 115.0 mm | ISO 100
 

Used on an APS-C body it becomes a “35mm equivalent” of 52.5mm or a standard lens if you will. However, as we can see from the image of the lens on the Sony A5100 body, it does seem to dwarf the camera.

It is also worth mentioning that the lens is clearly very well made, with smooth controls and fine finish. The attention to detail is there, even extending to the incredible zipped lens case that is provided. There is no shake reduction as this is provided via Sony’s excellent Steady Shot sensor-shift technology.

 

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