One of the most anticipated cameras at CES is the Panasonic GH5, so it's no surprise that the company's booth was overrun, in part, by people wanting to see it in person. We met up with Panasonic's Matt Frazer, who walks through some highlights (and things he likes) on this new camera.
Thanks. Sometimes it's challenging to get perfect audio in a convention hall with 100,000+ people milling around, enough RF interference to make your wireless mics hot, and about 90 seconds of setup time before hitting the record button. But we try :)
Does anyone know if the EVF and the camera's rear monitor now support 50Hz (+25Hz), and 48Hz (+24Hz)?
Can you guys @DPReview also look into this please.
With the GH4 the screens only support the rate of 60Hz (+30Hz), this results in horrible juddering on the camera's monitors when filming at the European broadcast standard of 25fps, and the cinema standard of 24fps (24 or 25 into 60 doesn't go, so requiring occasional frame doubling).
I know 60Hz panels are the cheapest to make as that's what most small displays and laptops use (laptops also produce juddering 24fps or 25fps footage playback).
P&S shoot cameras and phones all shoot at 30fps - and this play smooth on 60Hz screens, but if you wish to move out of amateur 30fps shooting, into broadcast standards (which the GH4 and now the GH5 are aimed at), screens need to support 50Hz / 25Hz, and 48Hz / 24Hz.
Matt's the man, but I would have mentioned the larger higher rez viewfinder, IBIS and the add-on pro audio module as benefits over the GH4. Matt, have you guys fixed the noise in shadows at low ISO yet? Please hope this is gone! Also, the horrible focus hunting problem when zooming in manual focus mode on 12-35mm f2.8 and 35-100 f2.8.
If anyone hasn't seen it yet, you should really check out this video that Cinema5D made which explains the hardware of the GH5 and why some of it was made the way it was "The Hardware of the Panasonic GH5 - An Interview with Panasonic's M. Uematsu-san" https://www.youtube.com/watch?v=MukM7WhCgQU&lc=z122whxrqxiiutaef23ywvcacte2clpy004
I like it, but... The one thing missing in the GH5 discussion is sensor readout speed to rolling shutter effect, is there any advance here to compare to Sonys readout chip circuit advances? I'll get really interested in mirrorless hybrid video when global shutter is a reality.
4:3 is rather a benefit than a downside really but does anybody list/show how many pictures it takes in continuous 30p at 20mp (not 8.3mp)?
Anything more than three seconds would be something useful for me to use as a filmmaker.
It'd be a serious benefit in getting that 6K resolution when it's possible and needed (To gain an even better HD/4K downsample, RED & Arri 65-like resolution, with much more crop leeway specially in 4:3, much better NR ability, full 20mp grabs, etc). I'd shoot all my static landscape shots using this photo mode, and stretch the recording time a bit more by slowing 30p to 24p.
Less than 2 seconds / 60 pictures is not usefull at all. Although I remember people shooting great 4K RAW video productions using the old Nikon V1 through the same function (e-shutter burst mode).
One interesting piece of information: The GH5 has internal H.265 encoding hardware! just not used as any video recording format, instead it's only utilized for the 20mp 30p burst photo mode - Surely to crunch down all that immense amount of data while producing good looking Jpegs.
Wonder why they didn't use it for video at half the bitrates or double the quality and stuck with H.264. Overheating? Software Support? (most support it now), I have no idea... just interesting how it has H.265, the next generation video codec hardware, just to use for the photo burst mode!
No mention of improved dynamic range (The GH4 got really noisy in shadows and couldn't handle them well and that really needed improving) and I was hoping they'd fix the bad skin tones too as I found only V-Log L had good Caucasian skin tones.
Panasonic said, the autofocus is faster on the GH5, and has much more autofocus points, but they also said its the same autofocus technology used in the GH4. The problem with the GH4 video auto focus was that it couldn't lock focus on moving subjects well and tended to hunt a lot. Will using the same technology but making the auto focus faster, really help to improve the auto focus on moving subjects and keep focus without similar amount of hunting?
I hope by the time the GH5 comes out, video editing programs will support the internal 10-bit 4:2:2 files as currently Vegas Pro 13/14, Davinci Resolve and I think Adobe Premier, don't yet. Check out my post on Blackmagic forum for that: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=55098
I think there are a couple of announced features that can make improvements in these areas.
First, the improved de-mosaic and noise reduction support may increase effective dynamic range by reducing noise and artifacts.
Second, on autofocus, it sounds like Panasonic has done a lot of work on the camera's internal model of where objects are and how they are moving. I actually have felt for some time that this is where their issues really are, rather than in the mechanics of finding the distance to subject and adjusting focus quickly. Improvements in movement prediction, as well as things like focus ease-in/ease-out, and leaving the focus alone while the subject is within the depth of field rather than continuing to tweak it, could provide very noticeable improvements.
The kind of "built-in focus puller" mode is also interesting, for situations where it can be used (i.e., staged shots, studio shots).
Video AF is reportedly very good, useable (nowhere near GH4 level). Dynamic Range, aside from a little more shadow detail you'll get from the improved NR, is equivalent all in all to the GH4. It's one aspect that they did not improve upon. Both do 12 stops at native ISO in V-LOG.
Please a FF sensor with a high quality video readout (4K60p/120pHD) to NX1 H.265 codec at 10bit, Canon/Nikon/Fuji colour science, Canon/Nikon FF lowlight performance, Olympus IBIS like technology, balanced body with high-end display (Say D500), with GH5 video Assist features like zebras, peaking, waveform monitor, big DSLR battery, Canon DPAF, OVF with Nikon 3D tracking AF, Hotshoe EVF included and interchangeable lens mounts.
I know the technology is there, they CAN put all of these in one device (and even an android phone system with a Sim card slot) BUT, it'd be huge. Bigger than a 1DXII, perhaps even need a Cinema camera size with a huge processor and a fan or liwuid cooling! No idea...
But with the GH5, panasonic is showing us again how much technology a company can put in a small camera at a certain cost.
It's really a market-leading effect even if you don't buy it, it probably affects the specs of your next camera from another company.
A G80 is a 4K M43s camera + IBIS + a speedbooster is a magnificent S35 EF cinema camera, aside from a few ergonomics it's more of cinema camera capable vs a C100/II.
>t with the GH5, panasonic is showing us again how much >technology a company can put in a small camera at a >certain cost. Thatcher what consumer marketing is about. If you wann more: Rent a ARRI
We are seeing a real cost paradigm shift, in terms of top end bodies in m4/3 and APS-C regularly nudging up against the $2k price border that used to signal territory of a FF body. Looks like a great video machine, with decent stills ability.
I think many consumers got into the more compact and cheaper gh1 and gh2 models, but also butget film makers started investing in it, and Panasonic split of their gh series for these film makers over time offering gh3,4,5 while consumers are starting to shift towards the smaller and cheaper m43 bodies like gx85 and g85.
The new G85 is weather-sealed with a tonne of features and is only half the price of the GH4. In fact, I just bought one up for little more than USD $400.
It would seem the G85 is aimed at the enthusiast, whereas the GH5 has become more of a specialist "pro" camera for videographers.
I wonder why you value Raw so much since it has extremely low compression now at 10bit, 4:2:2 and 400mbps and a Log Gamma?
You can grade thess images and shift them as much as you possibly want really, not a noticeable difference in motion (I call 10bit 422 the sweet spot, almost raw IQ with decent size files).
Perhaps for highly complex CGI/compositing for a high-end 4K output?
When you shoot stills, do you shoot RAW or do you just shoot jpgs? "as much as you possibly want" Maybe you're getting as much as you want with 4:2:2 and log but it's still not even ProRes which is about as close to RAW as you can get. The X5S has more DR in RAW as it does in ProRes.... And you're making a case for cameras that aren't even encoding in ProRes. I'm not getting as much as IIIII want even with ProRes. I wanit it all! I want everything out of that sensor that it can give. You're welcome to be happy with you get from 10bit 4:2:2 :-)
Jpegs are not the GH5 video compression scheme, the GH5 is considerablly higher.
No one said there is NO need for RAW. I was merely asking why you do need it for that you'd pay an extra 1000$ for? (because motion picture RAW is not for casual video shooting of course - it's not like stills Raw at all which is casual)
It's the same as jpg. It's baked. It was an example. Not meant to be literal. I have been shooting a BMPC for 2 years. Larger sensor though than a GH5. But I'd consider a GH5 if it shot RAW video. Hopefully DJI will introduce a non drone version of their 5.2k RAW camera at a reasonable price.
Looks to be a great video cam just like the GH4 is. I just don't understand why Panasonic is so hellbent on staying with the Micro 4/3 format. Anything cropped more than APS-C is a dealbreaker for me for photo. Also he didn't mention anything about the autofocus design. He just said it's "AMAZINGLY FAST". That's a marketing term. That contrast detection AF only on the GH4 was also a big let down. So while this is fine for video, I would look elsewhere for dedicated photo.
Indeed, GH5 capabilities with bigger sensor and clean low light images would be really hot. Panasonic has the know how and the market demand is there. There must be a good commercial reason why they don't do it, probably overlap with their pro stuff I guess ...
Oh no, Panny failed to see that anything cropped more than APSC is a dealbreaker for some people. The whole GH line, going strong for 7-8 years now, must be the biggest scam in the electronic industry. Wharehouses full of unwanted GH cameras must be just sitting there collecting dust yet the company keeps developping and producing new ones. What justifies this utter madness?
Creating your own market niche? Taking advantage of the biggest, most well established and most diversified mirrorless ecosystem? Using a smaller sensor to your own advantage? Rubbish! No way those GH cameras are selling! So there is nothing to understand.
bluevellet, so all these lens adapters and speed boosters are also just sitting there in stock collecting dust ? Why would ie a FF GH5 not sell like hell according to you ? Why is the Sony strategy giving them lots of A7 sales you think ? I dont say it needs to replace their m43 offer ...
Interchangeable lens cameras don't exist in a vacuum, they need a viable ecosystem too.
Sure, you can just release a camera with no lenses and just adapt lenses, to some people that's great in itself, but to most, native lenses which are specifically designed for that camera are a better option. If that option is offered at all. But that requires time and resources. Nikon 1 and EOSM already serve as a cautionary tale of half-baked systems that couldn't really cut it with just adapted lenses and a few native lenses. I wouldn't take Panasonic seriously for following such a route.
Sony gets "lots of A7 sales" because they carved their own niche by being first. More players, such as Panasonic, to this niche would sell, but they'd be fighting for a smaller slice of this tiny mirrorless pie.
Ebrahim Saadawi - Not exactly, a Speedbooster can emulate a ASP-C or FF camera in all but one way. It can't add a bigger sensor with bigger pixels for cleaner images with lower noise and better low light and dynamic range, that doesn't change, which is why an actual ASP-C or FF sensor camera would be better than just M4/3, especailly with all the features the GH5 has.
If Panasonic did make ASP-C or FF versions of their GH cameras (they don't need to stop making M4/3 cameras) with better low light, far less noise, more dynamic range and all the features the GH5 has and will have with the reported firmware updates coming in the future then there will be a lot of people who would want that, especially that culd take away sales from Sony Mirrorless cameras. Especially with Sony cameras overheating and not having 10-bit recording. But the closest thing we have to a FF equivalent to a Panasonic mirrorless, is probably the Leica SL, but its quite expensive.
The image-quality difference between an m43 sensor and a full-frame sensor is significant, but the image-quality difference between an m43 sensor and an APS-C sensor is not.
We're talking 0.6 of a stop, which is nothing when you consider that m43 system has so many high-quality fast lenses available.
I'm speaking as someone who's moved from Nikon APS-C to m43.
@bluevellet. Sounds like you're on the major defense for Panasonic. My concerns about them not expanding past m43 are MY feelings and opinion. You should respect people's opinion rather than defending this multi-billion dollar company that doesn't care or know that you're alive. Are they giving you free cameras to blast the posters who rant about their products?
Being in favor of a fully supported system instead of half-baked multiple ones is shilling for a company? No, it's an opinion from a potential customer who wants solid support before buying that type of product. Yes, an opinion, just like yours. That's what those comment sections are for and surprise surprise not everybody agrees with each other.
They are not hellbent. They made a conscious choice when they started with mFTs and that is to provide good enough image quality to a certain amount of people, deliviering a lenssystem with it that appeals (due to its size and weight) that appeals to a certain amount of people.
Now they have a very substantial lensline-up. COming to the market with another sized sensor means you now need to develop tow lensline-ups. That is not so costeffective and is probably a reason why we see next to zero if not zero E-mount lenses taylored for APS-c from Sony. All their effort is put into FF cam and ditto lenses.
Panasonic and OLympus made the right choice to me. Not for others. FUji X-T2 seems a great cam! Sony A6500 has a lot to offer. Pick one of them!
@ Zak: a FF cam like this with current tech would be sobig to accommodate a coolingsystem that prevents overheating. I hope neither Oly nor Panny will EVER go into FF. I'll buy a Sony or may be even a Hassy MF if I need that.
@bluevellet. "Being in favor of a fully supported system instead of half-baked multiple ones is shilling for a company"
Exactly what is "half-baked"? Full Frame? Doubtful. You're using the word shill in regards to your actions here. I never said that you were. But come to think of it.... Most other major camera manufacturers offer both Full Frame and APS-C and giving the consumer the flexibility of using the same lenses between both platforms. Neither which are half baked. They're giving consumers choice. Get off your shill bandwagon.
@jorginho. "That is not so costeffective and is probably a reason why we see next to zero if not zero E-mount lenses taylored for APS-c from Sony. All their effort is put into FF cam and ditto lenses."
Sony's full frame lenses as well as Nikon's are fully compatible with their APS-C cameras and both companies recommend using them. Reviewers have found them to work perfectly. Yes you have to do a calculation when using them on APS-C to know the proper focal length but that's a non-issue.
Henry, the point was made by me and someone else here; FF is not the limiting factor but company ressources. With other companies, more camera mounts is not paired with increased ressources to support the higher number of camera systems.
Canon's FF DSLR vs their APSC offering and M mount. Nikon F mount vs APSC DSLRs and Nikon 1 mirrorless system Sony EF cameras vs E cameras and A mount.
All three of these examples show a clear company preference for a particular sert of products over their other ones they also offer.
It's likely Panasonic would follow a similar pattern if they chose to introduce a new camera system. Since people like me already enjoy m43 products from Panasonic and then what you would propose would at best be a distraction and weaken their commitment to m43 in some way with absolutely no guarantee the payoff would be worth it for whatever new FF system they've tried to introduce.
@bluevellet. And with all of that you put so much effort into writing, tell me where I said, "I sure wish Panasonic would stop making the m43 format!". Yeah, I didn't. I was just speaking out of concern as to why they remained on m43 and never expanded. It didn't require their "paid" defense team to come all out of the woodworks.
You said a lot of things, Henry. You said that "anything cropped more than APS-C is a dealbreaker" for photography, even though there is little difference between APS-C and m43. You said that contrast detection was "a big let down", even though it is more accurate and DSLR autofocus. You also said that it was fine for video but not for dedicated photo, without explaining why.
@Henry "Sony's full frame lenses as well as Nikon's are fully compatible with their APS-C cameras and both companies recommend using them. Reviewers have found them to work perfectly. Yes you have to do a calculation when using them on APS-C to know the proper focal length but that's a non-issue"
The problem with these lenses are that theu are taylored to FF in FL too. While a 24-70 f2,8 is nice for FF nice wide angle this becomes 36-105 on APS-c. Nice long FL but the lens is no longer multipurpouse since it severely lacks a wideangle now. Also: these lenses are nothing short of huge and quite expensive. And this si true for a lot of lenses: the Focal lengths and size, including price make them less than desirable and it is a valid complaints by the users. Fuji understands it. Which is why they came out with a 16-55 F2.8. Which gets you 24-82,5 mm. Makes sense. FE lenses will work technically, but won't work out nicely.
The downside of using FF lenses on APS-C is not calculating the crop factor or inadequate lens zoom ranges. It's simply: size, weight and cost. A 50mm prime works wonderfully as an 85mm prime on APS-C. But if the same lens was mads with the extra FF outer circle cut-off, it'd be a small, cheap and light 85mm APS-C prime. 囧 Actually that's why we have m43s glass vs just using FF glass on everything.
@Ebrahim Saadawi Also another downside of using FF lenses on APS-C cameras is that many FF lenses are often not as sharp on an APS-C camera as they would be on a FF camera.
This is a really capable videocam. I wonder if it can make good stills :) For me the videofeature is pumped up too much because the handling of a DSLR-like body is weird for filmmakers. Why not make a great ergonomic videocam and add still-capability instead. It's easier I guess. (Specwise the GH5 is really NICE!)
I think many consumers still buy DSLR like bodies while camcorder like bodies dont sell that much ... Probably there was a large market photo enthousiasts willing to explore video, but there was a smaller market video enthousiasts that also want to explore photography i guess. And as a hybrid camera, shooting stills with a camcorder like body is ergonomically not ideal, while shooting video with DSLR like body is doable and allows to build an ergonomic video oriented rig to mount other video accessoires ...
I have a GH4 and it is a very capable stills cam. So is GH5. GH4 was the first cam that did not make me want something better (oh and I have a D800E to play with, so no..that is not it). Still bought em1.2 for I liked to see what HiRes could do and how C-AF would work compared to DFD. I have too little time to put em1.2 seriously to the test but will have a 2 week holiday soon to figure it out.
Why not? It's a good way to work with. It's not always to bash on someone for the smaller format. For example I even calculate *down* all my mediumformatlense to KB. I grew up with "normal" 135roll-equivalents. And my 150mm f3.5 @645 ist a 85mm f2.1 for me. I never would try to think in different systems, it hurts my brain ;) But maybe it's only because I work from MFT up to large format. Sometimes at the same event.
This is the worst ces I can remember another forgettable Panasonic and lenses for the tired m43 format, Fuji painting two cameras silver, another predictable amateur Nikon we all knew about and an inconsequential canon compact upgrade. And a drone got painted with a dragon totally pathetic no wonder the gear markets in a mess
So much effort improving video AF capabilities, but still no fast Panasonic 17.5mm AF prime lens :-( Yes I know about the 15 & 20mm f1.7 primes, but to have the full frame 35mm f1.8 DOF effect, a 17.5mm f0.9 is desired on m43. So the Voigtlander 17.5mm f0.95 is still the only option today since I left the m43 system several years ago but guess what, no AF for the Voigtlander. So the Panasonic AF improvements will only be applicable for all slower lenses. I remember from my "GH3 days" that AF was already OK for these slower AF lenses (like the Pana 12-35mm f2.8), so I really hoped in the mean time Panasonic would have extended its AF capabilities towards really fast primes ... unfortunately not. Guess I stick to my Nikon D750 with manual focus 35mm f1.8 for video work, clean video in low light. For my video work it looks way better to invest in 1) the 700$ Tamron 35mm f1.8 for its extra stabilization 2) an external Black Magic monitor / recorder of 450$ for easier Davinci Resolve edits.
Also a word on 4K, I see a lot of excitement for this 4K stuff lately ... really ? On normal viewing distance, people hardly see any difference with 1080p. It only consumes more bandwidth so people need to buy new camera, TV, monitor, more & faster memory plus storage, faster editing processor plus GPU and more GPU memory, ... So no thanks, I am perfectly happy with 1080p. Even our local broadcast distributor announced last month that their future decoder will be upgraded from 720p to 1080p, since 4K is out of scope due to the extra required bandwidth while having little added value for viewers at home ... So no 4K broadcasts anyway for at least the next 5 to 10 years.
Also don't get me wrong here, for all m43 shooters out there, the evolution of m43 equipment is a great thing and please enjoy it! This GH5 is a significant improvement in many, many ways over its predecessor, and hopefully noise levels will have improved one step further. The only thing for me is that I would love to switch back to m43 mirrorless since I experienced it as a great system with the Pana GH3, if only Panasonic would provide this 17.5mm f0.9 AF lens. And after that also the 25mm f0.9 AF, etc. Maybe they should have a look at Olympus who started with the 25mm f1.2 prime and will hopefully continue producing these super primes towards 17.5mm and other focal lengths as well. To make m43 a matured system, not only compact slower primes are useful, but also the faster primes that have a bit more weight & body are necessary. And yes adapters are there, but then no video AF and also it does not give me a reason to switch system since today I can do my video work without adapters.
Agree with you on 4K. I think it will become the laserdisc of our time. Overtaken by even newer technology before it has a chance to become widely adopted. The first 8K TVs are now in advanced development.
Amazing. The number of people who don't understand the benefit of 4K for shooting and post work and final distribution in 1080P. It's not all about sheer resolution. And as for broadcasts (or over the air), who cares? Broadcast 1080 is the poorer possible choice for IQ when compared to Bluray. Likewise, Amazon, Netflix, plus a number of other streaming channels now have hundreds of hours of 4K available. 8K will be used mostly for film making and large venues.
I think you'd have to be half blind to not see the difference between 1080p and 4k, though this is generally more true on bigger displays (60"+). The subjective difference diminishes as the display gets smaller.
With computer displays it's much more obvious, because we generally are so much closer, but that's a different topic.
Well utphoto, if you want to do all the necessary equipment investments I listed above (except for the TV) to downsample 4K footage in post to 1080p just to have a 5% cleaner image, be my guest but I will certainly never do that ! It is just way much cheaper & easier to immediately use a system that produces clean 1080p images right out of the camera, and yes even in low light situations. Comparing a m43 sensor downsampled 4K image with a full frame Sony sensor 1080p image, you will find out the latter image is much cleaner for way less money & effort !
Alex Kooistra, OK for creative editing 4K can indeed be an added value. But how many video amateurs are really able getting the full potential out of it (technical know how SW wise) and how many times will it occur that we really need these SW features to make the video content wise so much better ? Put that against all the extra investments 4K shooting & editing requires and it simply stays a "no go" for me ... When talking about sharpness, all consumer TVs produce the weirdest artefacts when they have to deal with super sharp 1080p video. I much more prefer clean, noise free & smoothened 1080p video when played on consumer TVs.
Even an amateur like me, with a one year-old XPS13 laptop, can edit 4K from the GH4 and render it to 1080. You appear to be a bit behind in what is needed to deal with 4K video. One other reason for me to want 4K as a family enthusiast is for the future proof of capturing the highest quality files of my family. I am old enough to feel the pain of not doing it always throughout our children's life.
Zakzoezie, you can keep trying to convince with your spin on 1080 vs 4K but the fact is that modest computers allow amateurs to edit 4K. Amateurs are not under the gun to produce content in the same manner as a commercial production house. As for equipment investment to down sample 4K to 1080, there is none. It's done in software.
As for low light shooting, use the right tool for the job at hand. If I wanted to shoot 4K in low light there are a number of options, all costing considerably more than the GH4 or GH5. Most professionals have multiple bodies and formats for their work environment.
There is good and bad HD and likewise, good and bad 4K. There is plenty of excellent 4K content (not just pretty pictures) on various streaming video services. Your comment regarding artifacts on consumer sets is only partially true. There are models that push the state of the art. You really come off as nothing more than a whining apologist for the status quo.
aljudy, the resolution of the video will be the least worry of your children :-) Content, content & content ! Btw, converting 4K to 1080p is easy, but real time editing in 4K preferably in 10 bit 4:2:2 using ie davinci resolve is simply impossible on your laptop :-) And yes you can even spend more effort and time and storage by converting first all source footage to 1080 and then as a second step edit that. I have much nicer things I can do in life ... BTW, dont you worry about my 2 monitor desktop editing system, its a great real time performant editing system for 1080p video ;-)
utphoto, so was that your last shot, no more arguments left and as a consequence start barking and insulting other people as whiners ? Well listen carefully now, 4K with very limited added value is pushed in our throats for premium prices by the suppliers making us believe that we can make a difference with it, and some of us eat it while others not ... I'm not even trying to convince you or anybody, but notice that even professional camera people are having a hard time detecting the difference between 4K and 1080. So feel free to buy anything you like my friend ;-)
I have no need to argue. You're entitled to your opinion although the facts dispute your opinions. Professional videographers can see the difference and 4K is coming whether you believe it or not. The majority of all television displays sold in North America and Asia in 2017, over 40", will be 4K sets. Streaming 4K video content is going to become even more widespread than it is now, and very quickly. You obviously live in a different world. If you are satisfied that 1080 meets all of your requirements, enjoy and be prepared to be left behind.
considering that DPR is a website dedicated to geeks that's the least one can expect. Anyways this is not a 40 min in depth video, just a quick overview. I actually appreciate the honesty, it's better to ask for clarification that to put out total nerdspeak that no one is going to understand.
Seems like, I have to sign out from my current job and ditch for being a photo/video professional. Damn it, those cam stuff are so good. Computers and editing stuff is also encoruging. But all expensive for such hobby/enthusiast as I am.
End of the day, I'll stick to my happy marriage and waiting for sales.
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App-based remote triggers are a fun and effective way to unlock even more creative potential from your camera. Here's a closer look at two popular brands.
The photography competition seeks "pictures that show the importance of health in society and the impact health issues have on people and communities worldwide."
Nikon has posted another teaser video for its upcoming full-frame mirrorless system featuring some classic Nikkor lenses. Perhaps the most notable thing about the video is the lens that's shown first...
Following the CES 2017 announcement of its revival, Kodak Alaris has started shipping test rolls of its new Ektachrome to photographers for beta testing.
Take an inside look at the work that goes into testing Nikon cameras from drops, dust, water and debris. There were definitely cameras harmed in the making of this video.
In a press release issued this morning, Sony announced it has sold more full-frame cameras than any other brand in the US over the past six months, measured both by units sold and by value.
Unlike most 360 cameras, the GoPro Fusion is designed to create both spherical and standard HD videos. If action/adventure is your game and your workflow is geared towards mobile and web, the Fusion may be the camera you’re looking for.
Alex and Kathryn are photographers, friends and Tokyo residents who love exploring Japan's hidden cultural treasures. They each brought a Canon EOS M50 on a recent trip starting in bustling Tokyo and ending in the peaceful riverside town of Gujo Hachiman.
Net SE, the parent company behind the likes of Oprema Jena, Meyer Optik Görlitz, Emil Busch, C.P. Goerz, Ihagee and A. Schacht products has filed for bankruptcy and removed itself from the German stock exchange.
Canon's latest 70-200mm F4L comes with a five stops of image stabilization, a new coat of paint and impressive sharpness. We've been shooting with our copy for several weeks now - see how it stacks up in our sample gallery.
Special 4K and 6K Photo modes may be one of the most under-appreciated features on recent cameras. In this week's episode, Chris and Jordan take a closer look at these modes and explain why – and when – you'll be glad to have them on your camera.
Ten years ago this month Panasonic and Olympus announced a new concept called Micro Four Thirds. We're now on the brink of full-frame mirrorless from at least one major player, so perhaps it's a good time to take a look back at where it all started – and how far we've come.
We got some quick hands-on time with Samsung's newest, biggest Galaxy smartphone at the company's launch event. Here are the most noteworthy camera features we uncovered.
At a high-profile launch event in New York, Samsung took the wraps off its next Note device. The Galaxy Note 9 borrows the S9+'s 12MP dual-aperture dual-cam, with OIS in both cameras and an emphasis on AI-enhanced shooting modes.
One of the most keenly-awaited lenses for a while, the new Pentax D FA* 50mm F1.4 is finally here, and we've been using it for a few days. In this article, we're updating our initial impressions on the basis of our recent shooting with the K-1 II.
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