SIGMA Introduces 500mm f/4 SPORT

   SIGMA Flagship 500mm F4 Telephoto Lens for Sports Line

Gentec International, the exclusive Canadian distributor of Sigma lenses, announces the newest super telephoto to the Sigma SPORTS line, the SIGMA 500mm F4 DG HSM | Sports. Photographers typically choose a prime lens when they require top image quality. However, the new flagship lens of our Sports line, the SIGMA 500mm F4 DG OS HSM fulfills this need while incorporating SIGMA’s latest technologies and delivering a full range of advanced features and functions: enhanced dust- and splash-proof construction, Optical Stabilizer (OS) system, SIGMA Tele Converter compatibility, AF function switch, SIGMA’s latest-generation Hyper Sonic Motor (HSM), and more. Combining top-level optical performance with functionality for challenging shoots, SIGMA 500mm F4 DG OS HSM | Sports sets a new standard for high-performance telephoto lenses.
The new SIGMA 500mm F4 DG HSM | Sports lens has a suggested retail price of $7,999.95 and is expected to be available for Sigma, Canon and Nikon in November 2016.
For more information, please contact Max Payne, Director of Marketing & Communications, at 905-513-7733 or email media@gentec-intl.com.

Key Features

Outstanding functionality for challenging shoots.
• Enhanced dust/splash-proof construction and available exclusive Protector
Designed for top performance in tough shooting conditions, the SIGMA 500mm F4 DG HSM | Sports features highly effective dust- and splash-proof construction. The front of the lens features a water- and oil-repellent coating that allows water to be wiped away easily and helps prevent oil from sticking to the surface. This feature is particularly useful when shooting in a drizzle or near ocean spray. The lens is compatible with the exclusive SIGMA Protector LPT-11 (sold separately), which effectively helps prevent damage to the lens during shooting and maintenance.
• Magnesium alloy barrel
To help minimize the weight associated with a hyper telephoto lens, the lens barrel is made with a magnesium alloy. Both lightweight and tough, this alloy contributes to the outstanding maneuverability of SIGMA 500mm F4 DG HSM | Sports.
• Carbon fiber hood
The lens hood is made of carbon fiber, which is both lightweight and strong. In fact, the entire lens is designed to be lightweight for outstanding performance in tough shooting conditions.
• Tripod socket with 90° click stops
Since photographers often prefer to use a hyper-telephoto lens with a monopod or tripod, the lens features a large and extremely stable tripod socket. Antistatic nickel plating on the socket parts help enhance the quality and durability of the 90° click stops, which make it easy to switch between vertical and horizontal shooting positions. The click position may be canceled by turning off the “de-clicking” switch. The lens also comes equipped with a dedicated strap for the tripod socket, making it easy to carry equipment without undue stress on the camera mount.
* Tripod socket cannot be detached from the lens
*Strap included
• Nikon electromagnetic diaphragm mechanism included
The lens for the Nikon camera includes the electromagnetic diaphragm mechanism and is able to receive the appropriate signals from the camera body. This feature ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting.
Top-level optical performance
The lens incorporates two FLD and one SLD glass elements, while the optimized power distribution helps minimize spherical aberration and axial chromatic aberration. The optical system also effectively minimizes transverse chromatic aberration, which can affect the edges of the shots taken in the telephoto range. In addition, image quality remains exceptional when the lens is used with a SIGMA Tele Converter (sold separately).
• Circular PL Filter RCP-11 is a drop-in polarized filter (sold separately).
Circular PL Filter RCP-11 is a drop-in filter that can easily be rotated while the lens is in use. (A protector that is inserted in a slot at the rear of the lens comes with the lens as standard equipment.)
Functions that satisfy the demands of professional photographers.
• OS system with acceleration sensor and new Intelligent OS algorithm
The Optical Stabilizer (OS) system features an acceleration sensor to deliver even more precise performance and up to approximately four stops of stabilization. Two OS modes are available: Mode 1 for general photography and Mode 2 for motor sports and other applications requiring panning. In Mode 2, the acceleration sensor teams up with the Intelligent OS and its updated stabilization algorithm to deliver effective stabilization while you move the camera horizontally, vertically, or diagonally—regardless of the position of the lens. This feature helps ensure effective panning and outstanding capture of moving subjects.
• AF function switch with preset AF modes
The AF function switch allows you to set your own autofocus specification. The lens can remember the focus position of your choice or turn off AF until it is needed.
• Manual override incorporated to make two full-time manual modes switchable.
In addition to AF/MF, MO (Manual Override) is incorporated as one of the options of the focus mode switch. By setting it to the MO position, it switches to manual focus by rotating the focus ring even during continuous AF. With AF position, standard full-time manual focus is available. Using the optional SIGMA USB DOCK, it is possible to adjust the MO position’s sensitivity to switch to manual focus.
AF is effective even when Tele Converters are attached
Tele Converters that are newly designed to match the new lens line-ups (optional) can be attached. The addition of SIGMA’s TELE CONVERTER TC-1401 or TELE CONVERTER TC-2001 produces a AF 700mm F5.6 hyper-telephoto lens or a AF 1000mm F8 hyper-telephoto lens respectively.
* When shooting subjects with low contrast or luminosity value, focus may not be spot on the subject.

Additional Features

• Evaluation with SIGMA’s own MTF measuring system “A1*”
• Compatible with Mount Converter MC-11
• “Made in Japan” with the best craftsmanship
• SIGMA USB DOCK for SIGMA GLOBAL VISION lenses (optional)
• Incorporating Rounded Diaphragm
• Brass made bayonet mount
• Applicable for the Mount Conversion Service that enables lenses to be long term assets
Canadian Warranty
Like all Sigma lenses, this lens is backed by a comprehensive seven-year Canadian warranty.
Specifications:
Focal Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500mm
Minimum Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F32
Lens Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Elements in 11 Groups
Filter Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46mm (Rear Drop-In)
Angle of View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5°
Number of Diaphragm Blades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 (rounded diaphragm)
Minimum Focusing Distance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 cm / 137.8”
Maximum Magnification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:6.5
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diameter: 144.8 mm / 5.7” x Length: 380.3 mm / 15”
Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,310g / 116.7oz
Mounts (AF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sigma, Canon, Nikon

Sony A9

   Sony A9 High End E-mount Camera to be      

       Released in the Next Few Months!!!

 

 The news comes from sonyalpharumors, which got the information from a “very top source” that had previously leaked accurate details regarding the Sony RX1R II months before the announcement.

According to the source, the Sony A9 will be a “giant leap” for Sony as a flagship mirrorless camera — a new model that sits above the highly acclaimed A7 series of cameras. The name of the new line isn’t certain, and the source is choosing to call it the “A9.”
“It will drop a huge bomb in the imaging industry,” the source writes.
The Sony A9 will reportedly have a dual XQD card slots and XQD format only, because it will need to take advantage of the blazing-fast write speeds: the camera will do unlimited RAW burst shooting.
“Unlimited. The camera won’t pause for buffering,” the source says. If true, this means you’ll never have to wait for the camera to transfer photos onto your memory card after holding down the shutter for a long time — the photos will be saved as quickly as they are captured, so you’re free to shoot in burst mode until your card is full.

 By comparison, the current flagship Nikon D5 DSLR can do 12fps at 20.8 MP RAW for up to 200 frames, and the Canon 1D X II can do 14fps at 20.2MP RAW for up to 170 shots.
Sony has been launching new XQD memory cards as of late, so it would make sense to develop a new camera that fully takes advantage of the format’s speed. If a Sony A9 camera in indeed on the way, we’ll likely be seeing more rumors and leaks about it very soon.

 

 

Sony at Photokina 2016: Sony will have a press conference on Monday September 19 at 15:00 Berlin time. But we are still not sure whether Sony will annouce a new camera at Photokina 2016 because Sony usually unveils their important new products after those major events to attract full attention. I still hope Sony can bring us a big surprise at Photokina 2016.
Sony is allegedly working on a new flagship full frame mirrorless camera called Sony A9 (Sony Alpha 9). This new Sony A9 full frame mirrorless camera will be placed above the A7-series and it is compatible with E-mount lenses. According to the report from SonyAlphaRumors, the new Sony Alpha A9 high end E-mount camera will be released in the next few months, and the Sony A99II development has finished. But the official announcement date is still unknown.
Sony Alpha a9 Rumored Specs:

• 72MP sensor
• Unlimited RAW
• Dual XQD card slots
• Better IBIS and HDR
• “DSLR” alike
• Bigger than Sony A7RII, smaller than Canon 5D Mark III
• Price around $5,000

Hot Sony Mirrorless Cameras:
Sony a7RII: $3,198 at Amazon, B&H, Adorama
Sony a7SII: $2,998 at Amazon, B&H, Adorama.
Sony a7II: $1,498 at Amazon, B&H, Adorama.
Sony a6300 Body: $998 at Amazon, B&H, Adorama.
Sony a6300 with 16-50mm Lens: $1,148 at Amazon, B&H, Adorama.
Sony A6000 Body: $548 at Amazon, B&H, Adorama.
Read more:
Best Lenses for Sony A7, A7R, A7S, A7II, A7RII, A7SII
Best Lenses for Sony A6300

 

NIKON D5 VS CANON 1 DX MARK

                                    

                                                                     

                                                    The sensor specs from both cameras are pretty much identical – there is only a 0.6 MP advantage on behalf of D5, which is meaningless. I wouldn’t worry about the differences in native and boosted ISO – although Nikon claims one stop better native ISO and that it can go all the way to insane ISO 3,280,000, those are just numbers for pure marketing. Anything above ISO 25,600 is most likely going to look like trash on both cameras. Where the first real difference comes in is in the viewfinder magnification: the Canon 1D X Mark II has a larger viewfinder with 0.76x magnification, while the viewfinder on the D5 has 0.72x magnification. Not a huge difference, but still worth noting.
Next is the storage media. Nikon released the D5 with two memory card options: either dual XQD slots or dual CF slots. In my opinion, it would have been better if Nikon released the option for dual CFast instead of CF, since the latter is practically useless in terms of maximum speed when compared to either XQD or CFast. Still, in my opinion, Canon is making the same mistake as Nikon did on the D4 and D4S cameras, which is giving 1x CFast and 1x CF slots to use instead of 2x of the same CFast format. While it can be a good move to transition existing 1D X users away from CF, it really limits the camera’s capabilities. If you set up the camera to shoot in overflow mode, the CF slot will drastically limit the camera’s buffer and limit video recording capabilities (CF won’t cut it for 4K 60p videos). In this regard, I believe dual XQD slots on the D5 would lead to more consistent shooting patterns and less worrying of swapping out memory cards.
                                              


                                                  

Where the Nikon D5 clearly loses out is in the continuous shooting speed – it maxes out at 12 fps with AF enabled, whereas the 1D X pushes 14 fps. But there is a catch – you will have to use the newest LP-E19 battery on the 1D X Mark II to get 14 fps; otherwise, you are also limited to 12 fps maximum. Both cameras can push 2 extra frames per second without AF. Aside from the 2 fps loss, the D5 does have an advantage over the 1D X Mark II in terms of buffer size. It can push 200 14-bit RAW images, being able to last 16.7 seconds, whereas the Canon 1D X Mark II has a smaller buffer of 170 14-bit RAW images, lasting around 12.1 seconds. Now keep in mind that there is a 2 fps difference between the two cameras in this calculation. If the Canon 1D X Mark II shoots at 12 fps, that duration would be extended to roughly 14.2 seconds. Close, but still a bit shorter when compared to the D5. In all seriousness, not a big deal, as chances of someone shooting that long with either camera are fairly slim! Overall, the 1D X Mark II is still a faster camera, since that 2 fps actually does make a difference.
                                                

                                         The Canon 1D X Mark II also has a superior RGB metering sensor, with a total of 380,000 pixels – over twice more than Nikon D5’s 180,000 pixel metering sensor. Hard to say whether the 1D X II will truly outperform the Nikon D5’s metering capabilities in the real world, as the camera systems are completely different, but it might still be potentially better at tracking subjects, particularly with its more powerful dual processor architecture.
On paper, the Nikon D5 shines with its 153-point, 99 cross-type AF system. However, keep in mind that most of those focus points are used for tracking subjects. The actual number of points that you can select is limited to 55 focus points, as seen below:




                                     

 So in terms of selectable number of focus points, the Canon 1D X Mark II wins. However, I personally would not compare the two cameras based on the number of selectable points. What matters is whether the camera can indeed utilize more of the focus area for AF adjustments – and that’s where the D5 should prove to be superior. Consider a situation, where there is a subject moving towards the camera. With the D5, once you lock focus on the subject’s eye, if the subject starts moving, the camera can potentially engage all 153 focus points for tracking the eye. Since the focus points are packed so closely together, there is a chance that the camera might utilize the focus points in between to keep the eye in focus. This might prove to be useful, potentially yielding more accurate results overall. However, this is pure speculation – in real life, the AF accuracy differences might turn out to be negligible. Some of our readers have been wondering why Nikon bothered saying that there are a total of 153 focus points, when only 55 are technically selectable. Personally, seeing the above grid, I would prefer to have less selectable focus points than more! Imagine trying to move your focus point rapidly from the center to the corners. If Nikon allowed all 153 focus points to be selectable, it would take forever for you to move from one side of the viewfinder to the other! When it comes to focus spread, the Nikon also looks a tad better. When I overlaid both viewfinders, the Nikon D5’s focus points looked like they stretched a bit further on both sides of the frame. The real win for the D5 in my opinion is the AF detection range – the D5 can go down all the way to -4 EV, which is one stop better than wht the Canon 1D X Mark II can do. As a result, when shooting in low-light environments, the D5 should be able to focus better and more accurately when using the center focus point.

                                           
                                              When it comes to video shooting, the Nikon D5’s 4K recording capability is a joke at the moment, thanks to its 3 minute cap. Unless Nikon fixes that in the final release via a firmware update, there is no way that it can compete with the Canon 1D X Mark II, which has no such silly limitations. The funny thing is, smaller and much less expensive mirrorless cameras have far better 4K video recording capabilities than both cameras, so I wonder why both Nikon and Canon are so slow in making real 4K recording available. While I can understand that Canon must protect its video camera products, Nikon has no high-end video cameras to compete with, so why short out on such an important feature?


                                        Another area where the 1D X Mark II shines is the built-in GPS capability. Being able to geotag images is extremely useful and I don’t understand why Nikon does not want to get it. GPS should be a feature in every camera, especially landscape cameras like the Nikon D810! Canon has been adding GPS chips on its DSLRs and most likely will continue doing so on its high-end DSLRs from now on. It is time for Nikon to catch up there…
                                      

                                                The biggest loss for the Canon 1D X Mark II is the darn battery. With a CIPA-rated maximum of 1,210 shots, the 1D X Mark II looks pretty bad when compared to the Nikon D5’s 3,780 shots. Shooting at those insane 14 fps, it would not take very long to drain the camera battery. Why is there such a drastic difference in battery life? I suspect it has to do with the dual processors on the 1D X Mark II vs a single processor on the D5. I am not sure if CIPA requires the GPS chip to be enabled during testing, but I doubt that it would drain the battery that much. I suspect the difference comes from the power-hungry dual CPUs. So if one were to shoot side by side with the two cameras, the D5 would keep on clicking…3x over the 1D X Mark II. And here is the worst part, if you shoot using Live View on the 1D X Mark II, you will only get up to 260 shots, which is puny!
Lastly, there is a $500 price difference between the 1D X Mark II and the D5. While $500 is not a lot of money when you put down $6K towards the purchase of either camera, it is still roughly an 8% difference that one could put towards more of those CFast cards or accessories.

                                 The D5 is Nikon's top-end flagship full-frame DSLR and following a firmware upgrade, the camera is expected to become more powerful than ever. However, the Nikon D5 faces stiff competition from the likes of Sony and Canon. How does the Nikon stack up against its rivals?

Resolution

The Nikon D5 features a 20.8 MP full-frame CMOS sensor. While this is definitely not as high as the D810 or even the D3x from 2012, Nikon believes that 20.8 MP hits a sweet spot. In comparison, the Canon 1DX Mark II features a 20.2 MP full-frame sensor, keeping the scores more or less tied. However, the Sony A7R II features a 42.4MP sensor.
Video
The one feature that brings all three cameras together is their ability to shoot 4K video. So far, the Nikon D5 could shoot 4K video for only up to three minutes. However, with the new firmware update, the video length has been bumped up to 30 minutes, keeping the Nikon well within striking distance of the Canon 1DX and the Sony A7R II. However, while the Nikon and the Sony can shoot full-HD video at up to 60 frames per second, the Canon 1DX Mark II shoots full-HD video at up to 120 fps.
Autofocus
With 399 AF points, the Sony A7R II boasts of better specs compared to the Nikon D5 and the Canon 1DX Mark II. The D5 features 153 points and the 1DX Mark II features 61 points. However, the Canon 1DX Mark II also features a dual-pixel CMOS sensor that allows users to focus on the fly in live-view mode.
Speed
When it comes to shooting low light, the Nikon D5 stands out from the crowd. It has a maximum sensitivity setting peaking at 3,280,000, in boost mode and the ISO-standard sensitivity ranges between 100 and 102,400. The Sony A7R II's ISO sensitivity ranges between 100 and 25,600 and the Canon 1DX Mark II's ISO sensitivity ranges between 100 and 51,200. In boost mode, Canon's sensitivity extends up to 409,600, while the Sony stops at 102,400.
All three cameras have a maximum shutter speed of 1/8000 of a second; however, when it comes to burst mode, the DSLRs, curiously outdo the mirrorless camera. The Nikon D5 fires away at 14 fps and the Canon 1DX Mark II blows past it at 16 fps. The Sony A7R II, however, is left far behind, firing away at 5fps.
Stability
Both the Nikon D5 and the Canon 1DX Mark II rely on their lenses to take care of any image stabilisation. The Sony, however, features 5-axis in-body image stabilisation. In addition to its proprietary VR image stabilisation system, the Nikon D4, while shooting full-HD video, offers electronic image stabilisation.

Nikon D5 vs Canon 1D X Mark II Specification Comparison

Camera Feature	Nikon D5	Canon 1D X Mark II
Sensor Resolution	20.8 Million	20.2 Million
Sensor Type	CMOS	CMOS
Sensor Coating	Anti-reflection	Standard
Sensor Size	35.9×23.9mm	36.0×24.0mm
Sensor Pixel Size	6.45µ	6.58µ
Low Pass Filter	Yes	Yes
Sensor Dust Reduction	Yes	Yes
Image Size	5,568 x 3,712	5,472 x 3,648
Base ISO	ISO 100	ISO 100
Native ISO Sensitivity	ISO 100-102,400	ISO 100-51,200
Boosted ISO Sensitivity	ISO 204,800-3,280,000	ISO 102,400-409,600
Image Processor	EXPEED 5	Dual DIGIC 6+
Viewfinder Type	Pentaprism	Pentaprism
Viewfinder Coverage	100%	100%
Viewfinder Magnification	0.72x	0.76x
Built-in Flash	No	No
Storage Media	2x XQD / 2x CF	1x CFast, 1x CF
Continuous Shooting Speed	12 fps with AF/AE	14 fps with AF/AE
Top Shooting Speed	14 fps	16 fps
Buffer Size (RAW, Lossless 14-bit)	200	170
Continuous Shooting	16.7 seconds	12.1 seconds
Max Shutter Speed	1/8000 to 30 sec	1/8000 to 30 sec
Shutter Durability	400,000 cycles	400,000 cycles
Exposure Metering Sensor	180,000-pixel RGB sensor 3D Color Matrix Metering III	360,000-pixel RGB+IR Metering Sensor
Autofocus System	153-point, 99 cross-type AF system	61-point, 41 cross-type AF system
AF Detection	Up to f/8	Up to f/8
AF Detection Range	-4 to +20 EV	-3 to +20 EV
Video Output	MOV, MPEG-4 / H.264	MOV, Motion JPEG, MPEG-4 / H.264
Video Maximum Resolution	3,840×2,160 (4K) up to 30 fps	4096×2160 (4K) up to 60 fps
Video Recording Limit	3 min	N/A – Depends on Card Size
LCD Size	3.2″ diagonal TFT-LCD	3.2″ diagonal TFT-LCD
LCD Resolution	2,359,000 dots	1,620,000 dots
Articulating LCD	No	No
Touchscreen LCD	Yes	Yes
Built-in GPS	No	Yes
Built-in Wi-Fi / NFC	No	No
Built-in Wired LAN	1000 Base T Support	1000 Base T Support
Battery	EN-EL18a Lithium-ion Battery	LP-E19 Lithium-ion Battery
Battery Life	3,780 shots (CIPA)	1,210 shots (CIPA)
Weather Sealed Body	Yes	Yes
USB Version	3.0	3.0
Weight (Body Only)	1,405g (With Battery + 2x XQD)	1,530g (With Battery)
Dimensions	160 x 158.5 x 92mm	158 x 168 x 83mm
MSRP Price	$6,499 (as introduced)	$5,999 (as introduced)

CANON 80D

Announcing the Canon EOS 80D

Canon has announced the EOS 80D, the successor to very capable EOS 70D that, notably, introduced Dual Pixel autofocus. The 80D brings some marked improvements to Canon's mid-market, enthusiast line, including a new 45-point AF module and updated Dual Pixel AF.
Body-wise, the 80D remains very similar to the 70D, which means a polycarbonate exterior with water and dust resistance. A few things have changed: the Q and Playback buttons on the back have shrunk, a headphone socket has been added, the remote port has been moved downward, and the stereo microphones have been relocated from the top of the camera (near the hot shoe) to the front, with wider separation (note the four small holes just left of the EOS 80D logo). Furthermore, the 80D now has a mirror vibration control system similar to the 5DS and 7D Mark II.

Dual Pixel AF

Possibly the most noteworthy improvement is that it's the first time Canon has delivered continuous autofocus (AI Servo) in still live view shooting from a Dual Pixel AF camera, and only the second time Canon offers continuous AF in live view for stills at all. Last time we saw it was in the the Rebel T6s (EOS 760D), which offers continuous AF in both stills and movie mode from its 'Hybrid CMOS III' sensor. However, its implementation is far from ideal, with significant hunting from Hybrid AF's reliance on contrast-detect AF in addition to phase-detect AF. (Only some of the imaging pixels on the T6s are masked for phase detection, rather than having split PDAF-capable pixels across the entire sensor.)
Our brief time with the 80D, on the other hand, left us very impressed. You can select your subject by tapping on it, and then as long as you keep the shutter half-depressed, the camera will quickly track your subject in all three

Canon EOS 80D Review

The Canon EOS 80D has recently been announced and is scheduled to arrive on the streets in March 2016. At that time, the full review of this featured-packed new camera will be completed at a very high priority.

Canon EOS 80D Features

• New 45-point all cross-type AF system
• Intelligent Viewfinder with approximately 100% viewfinder coverage
• Newly Developed 24.2 Megapixel (APS-C) CMOS sensor
• DIGIC 6 image processor for enhanced image quality
• Improved Dual Pixel CMOS AF for smooth, fast and accurate autofocus with video and stills
• Flicker Mode adjusts shutter release timing to avoid flickering light issues
• Built-in Wi-Fi and NFCTM capability for easy transfer of images and movies to compatible mobile devices
• 1080/60p Full HD video to capture brilliant results in MP4 format (for easy movie sharing on select social networking sites)
• Vari-angle Touch Screen 3.0-inch, 1 million dot, Clear View LCD II monitor enables flexible positioning and clear viewing even outdoors

to keep it in focus - no matter where it moves to within the frame. This means your subject tends to already be in focus when you're ready to take your shot and depress the shutter button. The camera even continues to focus in continuous drive at 5 fps.
Oddly, the much higher-end Canon EOS-1D X Mark II, skimps on this feature, only offering single AF in Live View. Previous iterations of Dual Pixel AF in the 70D and 7D Mark II also did not offer continuous AF.

Canon EOS 80D Compared to the Canon EOS 70D

• 24.2 megapixel sensor vs 20.2
• 45 cross-type AF points vs 19
• Up to 27 AF points available at f/8 max. aperture vs none
• 100% viewfinder coverage vs 98%
• DIGIC 6 vs DIGIC 5+
• Max buffer up to 110 JPEG/ 25 RAW (UHS-I) vs 65 JPEG/ 16 RAW (UHS-I)
• 60ms shutter lag vs 65ms
• Ambience priority / white priority AWB vs ambience only
• Flicker detection and timing vs none
• .MOV and .MP4 encoding vs .MOV only
• 1080p 60fps video recording vs 1080p 30fps
• Time lapse and HDR movie modes vs none
• Headphone jack vs none
• Wi-Fi and NFC vs Wi-Fi only
• 26 custom functions vs 23

For a more detailed look at this comparison, check out our Camera Specifications Comparison Tool.
The Canon EOS 80D is shown below with the optional Canon BG-E14 Battery Grip mounted.

The EOS 80D gains some significant upgrades when it comes to movie shooting. The most obvious change is the addition of 1080/60p video (and 50p for PAL shooters). In addition, the camera gains a headphone socket for audio monitoring while recording. Importantly, the mic and headphone sockets are angled for good reason: you can swing the articulating LCD and angle it upward or downward without it running into connected audio components. This allows videographers to make full use of the articulating screen while filming.
Add to this little changes like the movement of the built-in mics to the front of the body, rather than the haunches of the hot shoe, and the 80D shows signs that a lot of thought has been put into video.
Sadly there's no C-Log gamma option (a very flat tone curve useful for color grading), no focus peaking or zebra warnings and no 'clean' HDMI output for external recording, making clear this isn't intended for video professionals. However, the maximum ISO setting has received a boost and, much like the 1D X II, the combination of touchscreen and Dual Pixel AF should make it easier for non-pros to get good results.

Understanding ISO

It is challenging to take good pictures without a good understanding of how ISO works and what it does. Camera ISO is one of the three pillars of photography (the other two being Aperture and Shutter Speed) and every photographer should thoroughly understand it, to get the most out of their equipment. Since this article is for beginners in photography, I will try to explain ISO as simple as I can.

1) What is ISO?

In very basic terms, ISO is the level of sensitivity of your camera to available light. The lower the ISO number, the less sensitive it is to the light, while a higher ISO number increases the sensitivity of your camera. The component within your camera that can change sensitivity is called “image sensor” or simply “sensor”. It is the most important (and most expensive) part of a camera and it is responsible for gathering light and transforming it into an image. With increased sensitivity, your camera sensor can capture images in low-light environments without having to use a flash. But higher sensitivity comes at an expense – it adds grain or “noise” to the pictures.
Take a look at the following picture (click to open a larger version):

The difference is clear – the image on the right hand side at ISO 3200 has a lot more noise in it, than the one on the left at ISO 200.


The difference is clear – the image on the right hand side at ISO 3200 has a lot more noise in it, than the one on the left at ISO 200.
Every camera has something called “Base ISO“, which is typically the lowest ISO number of the sensor that can produce the highest image quality, without adding noise to the picture. On most of the new Nikon cameras such as Nikon D5100, the base ISO is typically 200, while most Canon digital cameras have the base ISO of 100. So, optimally, you should always try to stick to the base ISO to get the highest image quality. However, it is not always possible to do so, especially when working in low-light conditions.
Typically, ISO numbers start from 100-200 (Base ISO) and increment in value in geometric progression (power of two). So, the ISO sequence is: 100, 200, 400, 800, 1600, 3200, 6400 and etc. The important thing to understand, is that each step between the numbers effectively doubles the sensitivity of the sensor. So, ISO 200 is twice more sensitive than ISO 100, while ISO 400 is twice more sensitive than ISO 200. This makes ISO 400 four times more sensitive to light than ISO 100, and ISO 1600 sixteen times more sensitive to light than ISO 100, so on and so forth. What does it mean when a sensor is sixteen times more sensitive to light? It means that it needs sixteen times less time to capture an image!
ISO Speed Example:
ISO 100 – 1 second
ISO 200 – 1/2 of a second
ISO 400 – 1/4 of a second
ISO 800 – 1/8 of a second
ISO 1600 – 1/16 of a second
ISO 3200 – 1/32 of a second
In the above ISO Speed Example, if your camera sensor needed exactly 1 second to capture a scene at ISO 100, simply by switching to ISO 800, you can capture the same scene at 1/8th of a second or at 125 milliseconds! That can mean a world of difference in photography, since it can help to freeze motion.
Take a look at this picture:

I captured these Black Skimmers at 1/2000th of a second at ISO 800. My camera sensor only needed 1/2000th of a second to fully capture this photograph. Now what would have happened if I had ISO 100 on my camera instead? My sensor would have needed 8 times more time to capture the same scene, which is 1/250th of a second. At that speed, I would have introduced motion blur into my picture, because the birds were moving faster than that. In short, I would have ruined the picture.

2) When to use low ISO

As I’ve said above, you should always try to stick to the lowest ISO (base ISO) of your camera, which is typically ISO 100 or 200, whenever possible. When there is plenty of light, you should always use the lowest ISO, to retain the most detail and to have the highest image quality. There are some cases where you might want to use low ISO in dim or dark environments – for example, if you have your camera mounted on a tripod or sitting on a flat surface. In that case, bear in mind that your camera will most likely need more time to capture the scene and anything that is moving is probably going to look like a ghost.

3) When to increase ISO

You should increase the ISO when there is not enough light for the camera to be able to quickly capture an image. Anytime I shoot indoors without a flash, I set my ISO to a higher number to be able to capture the moment without introducing blur to the image. Other cases where you might want to increase ISO are when you need to get ultra-fast shots, like the bird picture I posted above. But before increasing the ISO, you should think if it is OK for you to introduce noise to the image.
On many of the newer DSLRs, there is a setting for “Auto ISO”, which works great in low-light environments. The beauty of this setting, is that you can set the maximum ISO to a certain number, so when the ISO is automatically increased based on the amount of light, it does not cross the set barrier. So, if I want to limit the amount of grain in my pictures, I typically set the maximum ISO to 800.
If you have any questions, comments or feedback, please post them in the comments section below. Please note that the above explanation of ISO is given in very basic/simple terms, similar to film sensitivity. Correctly defining ISO in digital cameras can get fairly complex. If you want to find out more about ISO in digital cameras, including the ISO 12232:2006 standard, please see this article from Wikipedia.

Best Full-Frame DSLRs of 2016

Full-frame DSLRs offer the very best in image quality, but which one is best suited to you? We've pick a selection of the best full-frame DSLRs of 2016 to help you decide

The term ‘full frame’ refers to a full-frame sensor that’s the same size as an individual frame of traditional 35mm film.
The advantages of full-frame sensors over smaller digital camera sensors, such as APS-C or Micro Four Thirds, are numerous.
For starters, the larger surface area of a full-frame chip means that the individual light-capturing photodiodes (pixels) can be larger, which in turn improves performance in low light.
Creatively speaking, another advantage of full-frame sensors is that it’s possible to attain a shallower depth of field compared to their smaller-sensor comrades.
As a result, full-frame sensors are considered to deliver the very best in image quality; although they do feature high price tags, so you’ll want to be sure you’re picking the right full-frame camera.

Key points of a full-frame camera

Sensor

Full-frame cameras are well known for producing the best performance in low light, thanks to their large photodiodes (pixels)

Pop-up flash

Not all full-frame cameras feature a pop-up flash, so for extra illumination you’ll require a hotshoemounted flashgun

Lenses

Full-frame cameras can only be used with full-frame lenses. Canon EF-S lenses, for example, are not compatible with Canon fullframe DSLRs

Build quality

Expect a full-frame camera to be robustly made with weather seals for maximum protection

Best full-frame DSLRs

Read more at http://www.whatdigitalcamera.com/roundup/camera-roundups/best-full-frame-dslrs-2016-9263#3Gbzoz0uIO5evCHu.99

Canon EOS 6D

 

Best for:

• Enthusiasts wanting to upgrade from a DSLR to full-frame
• Travel photography because of the inbuilt GPS and Wi-fi
• Shooting in low light

Key specs:
Price: £1140
Sensor: 20.2MP full-frame CMOS
File formats: JPEG, Raw, Raw+JPEG
Display: Fixed 3in, 1,040k dots
ISO range: 100-25,600 (exp. to 100-102,400)
Exposure modes: PASM, Scene Intelligent Auto, Scene
Drive mode: Single, Continuous, Self-timer, Silent
Movie mode: 1920 x 1080p Full HD at 30/25/24fps
Dimensions: 144.5 x 110.5 x 71.2mm
Weight: 755g with battery and card
Pros

• Image quality
• ISO performance
• Inclusion of both Wi-fi and GPS
• AF performance in low light

Cons

• One cross-type AF point
• JPEG sharpness
• Playback zoom control
• 97% viewfinder

Cheaper, smaller and lighter than any existing Canon full-frame DSLR, the EOS 6D is equipped with a 20.2MP sensor and Canon’s DIGIC 5+ image processor – the same processor used inside the 5D Mark III. This combination provides a native sensitivity range of ISO 100-25,600,which can be extended to a base ISO 50 and upwards to an equivalent of ISO 102,400. As for the speed it shoots at, the 6D offers a maximum continuous burst of 4.5fps.
The EOS 6D’s 11-point focusing system features a single cross-type sensor in the middle, with ten additional points scattered around the perimeter. The optical viewfinder provides 97% frame coverage and 0.71x magnification, while the 3in rear display boasts a 1,040k-dot resolution.
The 6D offers Wi-fi connectivity, and complements this with a built-in GPS system – a rarity among DSLRs. In terms of design and build, the 6D shares characteristics with the 5D Mk III, minus a few subtle differences. The rubberised handgrip isn’t as chunky and it’s also noticeably lighter in the hand. The layout of the top-plate is clear, with independent buttons to control AF mode, drive mode, metering modes and ISO. The EOS 6D excels in terms of its low-light AF performance. The central cross-type AF point can lock onto subjects right down to -3EV, which enables the 6D to find focus even in extremely dark situations. That said, it can’t quite match the Nikon D610 for advanced AF tracking. The 63-zone metering system can be relied on to attain accurate exposures. The 6D’s sensor is capable of resolving finely spaced horizontal lines right down to 32 lines per mm (lpmm), which is equal to its main rival – the Nikon D600 – at the same ISO sensitivity. Up to ISO 3200, you’ll get clean, noise-free images.

Verdict

It’s great to see an affordable full-frame body in Canon’s line-up for under £1,200, and for APS-C DSLR users considering the jump up to full-frame, it’s a logical option. The addition of Wi-fi is excellent, and though it’s no 5D Mark III, it goes above and beyond what most enthusiasts are calling out for. To sum up, the 6D offers superb image quality to more consumers at a price that’s realistic.
Scores:
Features: 18/20
Performance: 18/20
Design: 18/20
Image quality: 18/20
Value: 18/20
Overall score: 4 1/2 out of 5

Nikon D750

Best for

• Excellent all-round performance
• Those after their first full-frame DSLR
• Users not needing to record the same level of detail as the D810

Key specs
Price: £1750
Sensor: 24.3MP full-frame CMOS
File formats: JPEG, Raw, Raw+JPEG
Display: Tilt-angle 3.2in, 1,229k dots
ISO range:100-12,800 (exp. to ISO 50-51,200)
Exposure modes: PASM, Auto, Scene
Drive mode: Single, Continuous, Quiet
Movie mode: 1920 x 1080p Full HD at 60/50/30/25/24p
Dimensions: 140.5 x 113 x 78mm
Weight: 840g body only
Pros

• High-resolution sensor
• Vari-angle LCD screen
• Inclusion of Wi-fi as standard

Cons

• Maximum shutter speed of 1/4000sec might be restrictive for some
• Lack of GPS

Tailored for enthusiasts, while catering for both the hobbyist and the aspiring pro, the D750 features a redesigned version of the 24.3MP sensor found in the D610. The presence of an optical low pass filter distinguishes it from the D810 and helps to prevent moiré patterning, although it does so at the expense of finer detail reproduction. With a maximum shooting speed of 6.5fps and a native ISO range of 100-12,800 (extendable to 51,100) it shoots faster and a stop higher than the D610. It’s also Nikon’s first DSLR to feature a 3.2in, 1,299k-dot screen with variangle functionality and introduces built-in Wi-fi connectivity to boot.
The body is a monocoque design, constructed with a mix of materials including thermoplastic and carbon fibre. Magnesium alloy is used on the top and bottom to add strength and though by no means light, it’s smaller than the D610. It feels well balanced and well matched with heavy telephoto lenses, while its control layout is more akin to Nikon’s enthusiast models – the mode dial is on the left of the top-plate, with a selection of controls beside the screen. One slight disappointment is the lack of an AF-ON button.
Equipped with a new Multi-Cam 3500FX Mark II autofocus module that sports 51 AF points with 15 cross-type sensors, the D750 is quick to focus. It can lock on in dark conditions down to -3EV and there are 1.2x (16.7MP) and 1.5x (10.3MP) crop modes if you’d like a bit more reach from your Nikon lenses.
Colour rendition is much the same as the D810 and it can now perform spot white balance in live view. Images are noise-free up to ISO 1600, while JPEG files do a great job of managing fine detail through noise reduction at higher ISOs.
With a tilting LCD and featuring Wi-fi , the D750 is a full-frame DSLR that breaks new ground and, thanks to a modified grip, it handles exceptionally. Though the resolution isn’t as good as some of Nikon’s full-frame cameras lacking anti-alias filters, it’s good enough for most. It’s one of the best all-round DSLRs currently available and has dropped by more than £50 from its launch price.
Scores:
Features: 19/20
Performance: 18/20
Design: 19/20
Image quality: 19/20
Value: 18/20
Overall score: 5 out of 5

 

Sony Alpha A7R II

Best for

• Those looking for the best detail possible in a small and lightweight body
• Wi-fi and NFC
• DSLR-like handling

Key specs

Price: £2,500
Sensor: 42.4MP full-frame Exmor CMOS
File formats: JPEG, Raw, Raw+JPEG
Display: Tiltable 3in, 1228k dots
ISO range: 100-25,600 (expandable)
Exposure modes: PASM, iAuto, Superior Auto, Scene, Panorama
Drive mode: Single, Continuous, Self-timer
Movie mode: 1920 x 1080p Full HD at 60/25fps
Dimensions: 126.9 x 95.7 x 60.3mm
Weight: 584g body only

Pros

• Fantastic resolution
• Excellent high ISO performance
• High performing OIS

Cons

• Limited battery life
• No flash unit

Sony’s A7 range was originally designed to compete closely with some of the world’s best DSLRs, such as the traditional offerings from Nikon and Canon.

The A7R II aims to fix all the niggles of the original A7R, which it does through improving low-light performance and handling. Also newly added is Sony’s 5-axis optical image stabilisation system. 4K video capture is also included.

The body of the camera uses magnesium-alloy plates on its top, front and back, which feels extremely well made. The grip is also nice and deep to feel comfortable in the hand. Seals across the body of the A7R II keep out dust and water, which should mean you can carry on shooting if the heavens open – if you use a weather-sealed lens.

As it stands, Sony offers 20 lenses in its range for full-frame mirrorless cameras, which although not quite as extensive as those from older camera manufacturers, should supply something for most situations. There are also mounts which enable the use of Canon and Nikon lenses.

Sony has done some redesign work for the A7R II, giving you a pair of manual control dials and a moved shutter button which sits more naturally, and intuitively, under your finger. The EVF’s eyecup is also softer. A 2.46 million-dot EVF is great, and joins a high resolution screen. The screen also tilts to help you when you’re shooting at some awkward angles.

There’s both an electronic and physical shutter, which both go up to 1/8000, which is very fast and ideal for shooting in bright conditions with wide apertures, or freezing action. The A7R II doesn’t have an integrated flash, but there is a hot-shoe if you want to add your own (a separate flash unit is not included).

One of the biggest compromises of a small camera body is battery life. The Sony A7R II’s battery lasts for 300 shots, or 270 using the EVF. This isn’t terrible, but it is significantly fewer (in the hundreds) than a high-end DSLR can offer. On the plus side, the A7R II comes with two batteries in the box, which gives you extra flexibility.

The 5-axis in-body OIS provides 4.5 stops of stabilisation, giving you the option to shoot at lower ISOs without your shots being ruined by blur. With this camera, you can shoot at speeds such as 1/20 second and still achieve sharp images. That’s particularly impressive when you consider how unforgiving a high resolution sensor can often be.

Action photographers would do better to look at other cameras. Although the burst mode is 5fps and matches the Nikon D810’s offering, it’s at the lower end of what other cameras can offer.

Verdict

The A7R II is a superb full-frame CSC with a host of improvements which make it much more versatile than the original A7R. There’s better ergonomics and control layout, 4K video, great in-body image stabilisation, a silent shutter mode and a significant jump in resolution. It’s worth considering this over a high-end DSLR if you don’t already have a hefty set of lenses for another system.

Scores:
Features: 18/20
Performance: 17/20
Design: 18/20
Image quality: 18/20
Value: 17/20

Overall score: 4 1/2 out of 5

Sony Alpha A7S II

 

 

Best for:

• Those looking for the best detail possible in a small and lightweight body
• Wi-fi and NFC
• DSLR-like handling

Key specs

Price: £2,500
Sensor: 12MP full-frame Exmor CMOS
File formats: JPEG, Raw, Raw+JPEG
Display: Tiltable 3in, 1228k dots
ISO range: 50-409,600 (expandable)
Exposure modes: PASM, iAuto, Superior Auto, Scene, Panorama
Drive mode: Single, Continuous, Self-timer
Movie mode: 1920 x 1080p Full HD at 60/25fps
Dimensions: 126.9 x 95.7 x 60.3mm
Weight: 584g body only

Pros

• Fantastic low-light performance
• Excellent for video
• Great ergonomics

Cons

• Limited detail capture among full-frame cameras
• Currently a limited native lens line-up
• Unimpressive burst performance

If low-light shooting is your main concern, then the designers at Sony have basically come up with a camera especially for you. While it’s partner camera, the A7R II, has a 42- million pixel sensor, the A7S has just a 12 million pixel.

You may be wondering why there’s such a low count, when most manufacturers are keen to shout about ever bigger numbers. The A7S is designed especially with low-light in mind. With just 12 million pixels to cram onto the sensor, they can all be bigger, and in turn, better able to capture available light. What’s more, the A7S II has an incredible ISO range of 50-409,600. Basically, the A7S II can see things that you can’t.

The design and style of the camera are very similar to other Sony Alpha full-frame models, but controls have been redesigned since the first wave of the cameras to result in better ergonomics all-round. For starters, there’s a nice deep grip, to make it feel better in the hand.

Like the first A7S, the Mark II has a very high resolution viewfinder. At 2.36 million dots, it’s one of the highest resolutions available on the market, and it has a magnification of 0.78x, to make the image appear larger than the previous version (which was 0.71x). The rear screen has also seen a bump in resolution.

Instead of using Sony’s hybrid focus system, the A7S II uses only contrast detection AF and has 169 focus points. Each of the nine central points is divided into 16 segments which makes for a higher concentration of AF points in the centre. If you attach a lens with a maximum aperture of f/2, Sony says that the A7S II can focus in light levels as low as -4EV.

Our testing indicates that focusing speeds are not quite as quick as the hybrid system of the A7R II, but they are still very good. This isn’t a camera for action photographers, but neither is it designed to be.

One of the most important factors of the A7S II is the 5-axis image stabilisation, which compensates for any movement you might make while the shutter os open. With this, you can get sharp shots when you’re shooting as slow as 1/10 second when using the camera freehand, or 1/5 second if using the viewfinder and stabilising the camera against your face.

As we’ve come to expect from Sony Alpha cameras, image quality is superb. Dynamic range is excellent, and low light performance really is incredible. You’ll do well to spot luminance noise at ISO 6400, while up to 25600 you can continue to get fantastic results.

Verdict

If you’re a photographer who likes to shoot consistently in low light and want something which is dedicated to that function, this is a good camera for you. Yes, it’s quite a niche offering, but it’s very, very good at what it does. If you’re after something which reproduces tonnes of detail, look instead at the A7R II.

Scores:

Features: 17/20
Performance: 17/20
Design: 18/20
Image quality: 18/20
Value: 17/20

Overall score: 4 out of 5

Canon EOS 5D Mark III

 

Best for

• Those seeking a well-rounded, advanced DSLR
• Shooting everything from detailed landscapes to portraits or action
• High ISO shooting

Key specs
Price: £2250
Sensor: 22.3MP full-frame CMOS
File formats: JPEG, Raw, Raw+JPEG
Display: Fixed 3.2in, 1,040k dots
ISO range: 100-25,600 (exp. to ISO 50-102,400)
Exposure modes: PASM, Auto+
Drive mode: Single, Continuous, Self-timer
Movie mode: 1920 x 1080p Full HD at 30/25/24fps
Dimensions: 152 x 116.4 x 76.4mm
Weight: 950g body only
Pros

• Excellent set of features
• Build quality is much better than Mk II
• Great AF system
• Video performance

Cons

• Expensive compared to some rivals
• Very occasional underexposure
• No built-in flash

While resolution remains similar to that of the EOS 5D Mk II, the 22.3MP CMOS sensor inside the 5D Mk III has a different design that employs gapless microlenses for improved light-gathering. This is paired with Canon’s DIGIC 5+ image processor – the same processor used inside Canon’s flagship EOS 1D-X. The 5D Mk III offers a native sensitivity range of ISO 100-25,600 which can be expanded to the equivalent of ISO 102,400. Continuous shooting, meanwhile, maxes out at 6fps.
The optical viewfinder is large and bright and offers a 100% fi eld-of-view, while the back of the camera is adorned with a 3.2in, 1,040k-dot LCD display, though it’s not a touchscreen.
The body is constructed from high-grade magnesium alloy, and further benefits from weather-sealing to keep dust and moisture out. In Single One-Shot AF, focus locks on very quickly. You can use all 61 AF points if you wish, using the joypad on the back of the camera, or a combination of the rear and front command dials. If you don’t need to use all 61 AF points, then the number of active AF points can be reduced to the 41 cross-type points, along with 15 points or nine points. The 5D Mk III’s metering system copes well under a range of lighting conditions, though it can be guilty of underexposure at times, which requires a touch of exposure compensation (typically +0.3EV or +0.7EV) in order to get more balanced results. Images generally display a pleasing and smooth tonal range. The camera’s built-in Highlight Tone Priority feature can be used to further improve gradation in brighter areas. Raw and JPEG images look similar at low sensitivities and image noise is very well controlled in general, with images up to ISO 1600 relatively noise-free.
Verdict
While the Mk II was more suited to specific photographic disciplines, the Mk III is a much more well-rounded, versatile DSLR, thanks to boosts in many aspects of its performance. The autofocus and low-light improvements make it one of the best cameras around for shooting at high sensitivities. The more you shoot with it, the more you realise what a capable camera it is.
Scores:
Features: 19/20
Performance: 19/20
Desgin: 17/20
Image quality: 19/20
Value: 18/20
Overall score: 5 out of 5

Canon 5DS R

Best for

• High-resolution shooting
• Detailed shooting
• Studio and landscape photography

Key specs

Price: £2390
Sensor: 50.6MP full-frame CMOS
File formats: JPEG, Raw, Raw+JPEG
Display: Fixed 3.2in, 1,040k dots
ISO range: 100-6400 (expandable to 50-12800)
Exposure modes: PASM, Auto+
Drive mode: Single, Continuous, Self-timer
Movie mode: 1920 x 1080p Full HD at 30/25/24fps
Dimensions: 152 x 116.4 x 76.4mm
Weight: 845g body only

Pros

• Super high resolution
• Robust, weather-sealed body
• Excellent autofocus

Cons

• Relatively limited ISO range
• Enormous, difficult to handle raw files,
• Fixed LCD screen

Canon’s EOS 5DS and 5DSR are currently the highest resolution full-frame DSLRs on the market, both sharing the same 50.6-million pixel sensor. Both of the cameras are relatively identical, but the effect of the optical low pass filter on the latter has been “cancelled”. This mans you end up with something with a high resolution, but there’s a possibility of introducing aliasing and moire.

In terms of physicality, the body of the camera is pretty much identical to the EOS 5D Mark III. However, internally, there’s a new shutter and mirror assembly which is designed to minimise vibrations – particularly important for a sensor with such a high resolution. In-camera sharpening algorithms have also been updated to get the most detail out of the cameras’ image files.

While the 5D Mark III is a great all-rounder, essentially the 5DSR has been optimised for studio photography – or for those that need to get the most detail possible.

The 5DSR has been robustly constructed and features a magnesium alloy shell. It’s also dust and weather proof, which is useful for outdoor work. The dials and buttons place every key control at your fingertips.

A large and clear viewfinder has an LCD overlay on it to give lots of useful information. Although there’s no articulating or tilting screen, the fixed one is great for live view shooting. Autofocus uses the same 61-area sensor as the 5D Mark III, but can now work in conjunction with the colour-sensitive 150,000-pixel metering sensor to detect faces and focus specifically on your subjects’ eyes. In practical use the AF system works exceptionally well, even when shooting with fast primes and off-centre subjects.

Image quality is superb, although to get the most from the sensor, you’ll want to pair the camera with high quality lenses (and excellent technique). You’ll need to use fast shutter speeds to avoid blur, but under the optimum conditions, the amount of detail the camera can capture is extraordinary.

At low ISOs, noise is all but invisible. It’s only from ISO 1600 that noise starts to become apparent. Even at ISO 6400, images are perfectly usable, especially when processed from raw. Colours are punchy and well saturated, while the auto white balance system is accurate.

Verdict

The 5DS is an extremely accomplished DSLR which offers fantastic image quality inside an already well-loved design. The 50.6MP is the highest resolution (for now) of any full-frame camera. Dynamic range is very respectable, although images are perhaps not quite as noise-free in very deep shadows as the Nikon D810’s 36 million pixel sensor.

Scores:

Features: 18/20
Performance: 19/20
Design: 19/20
Image quality: 19/20
Value: 17/20
Overall score: 5 out of 5

Nikon D810

 

Best for

• Photographers wanting to resolve the highest level of detail possible from a full-frame DSLR
• Those after an ‘S Raw’ format
• Users looking for a solid workhorse of a camera

Key specs
Price: £2350
Sensor: 36.3MP full-frame
CMOS file formats: JPEG, Raw, Raw+JPEG
Display: Fixed 3.2in LCD, 1,229k dots
ISO range: 64-12,800 (exp. to ISO 32-51,200)
Exposre modes: PASM, Programmed Auto
Drive modes: 5fps (6fps in DX-crop mode)
Movie mode: 1920 x 1080p Full HD at 60/50/30/25/24fps
Dimensions: 146 x 123 x 81.5mm
Weight: 880g body only
Pros

• High resolution
• Stunning detail capture
• Superb LCD screen
• Extensive ISO range
• Robust build quality
• Varying file sizes
• Refined button placement

Cons

• Bulky
• Heavy (880g body only)
• Lacks Wi-fi or GPS
• No 4K video
• High price
• Buying the battery grip adds £285 to the price

What makes the D810 notable is that it’s the first full-frame DSLR to be completely lacking in an optical low-pass filter and this, combined with the 35mm full-frame CMOS sensor that boasts a resolution of 36.3MP, makes it stand out as one of the best cameras currently out there for recording the finest levels of detail.
Nikon has given it a wider range of image capture formats, too, including a new ‘S Raw’ format, which captures uncompressed files at 9MP. Despite the hefty file sizes it churns out, it shoots continuously at up to 5fps, or 6fps in DX crop mode. A 3.2in, 1.23m-dot LCD screen and Full HD video are present, too, and there’s a small pop-up fl ash which can be used to illuminate scenes as well as trigger off-camera flash. If you’re interested in video capture, the good news is that the D810 caters well for those needs as well.
Although it doesn’t offer the new ultra-HD 4K video capture, it does still capture at 1920 x 1080p Full HD. The video capture capabilities are also fairly comprehensive in terms of frame rate, with 60p, 50p, 30p, 25p and 24p all on offer, as well as 60 and 50p at the slightly lower resolution 1280 x 720 setting.
The D810 features several button placement refinements: the fiddly metering mode button has been replaced by a dedicated button taking the place of the bracketing button, which is now housed on the side of the camera. The grip also has a larger indentation for the middle finger and there’s a larger thumb rest, too, adding up to give it a more secure feel in the hand. The body is comprised of magnesium alloy and although that makes the camera heavy – at a touch under 1kg in weight – the improved weather-sealing means it’s built to survive the toughest tests and it’s a solid workhorse of a camera. Autofocus is lightning-fast, as you’d expect, and although the 51 focus points are concentrated towards the middle, they can be altered between focus modes. Not only is the LCD screen one of the best specified in the market in terms of size and resolution, but it also benefits from the addition of a fourth white dot per pixel. In real terms, this means the screen offers better visibility in bright conditions and reduces power consumption in lower light. The screen also adjusts brightness to suit the conditions you’re shooting in, and on the whole it’s a screen that impresses and certainly feels like an improvement.
The 9,100-pixel RGB metering sensor delivers well-balanced exposures, and a new ‘highlight’ mode specifically looks to preserve more highlight detail in high-contrast conditions. At its base ISO, it almost out-resolves test charts and the detail the camera captures really has to be seen to be believed.
Noise is handled very well up to ISO 3200, although ISO 25,600 and 51,200 are best reserved for low-light emergencies.
Verdict
The D810 isn’t a complete overhaul in comparison to its predecessors, but the improvements that have been made are certainly welcome. The LCD screen is superb and helps to enhance the image review process no end. It’s also welcome to have the varying file size options so you don’t always have to shoot at 36MP. The level of detail resolved by the sensor is truly stunning, and overall it’s a great upgrade to one of the best DSLRs going.
Scores:
Features: 19/20
Performance: 18/20
Design: 19/20
Image quality: 19/20
Value: 18/20
Overall score: 5 out of 5

Camera sensor size

Camera sensor size: Why does it matter and exactly how big are they?

 

Why is camera image sensor size important?

The size of sensor that a camera has ultimately determines how much light it uses to create an image. In very simple terms, image sensors (the digital equivalent of the film your father might have used in his camera) consist of millions of light-sensitive spots called photosites which are used to record information about what is seen through the lens. Therefore, it stands to reason that a bigger sensor can gain more information than a smaller one and produce better images.
Think about it this way, if you had a compact camera with a typically small image sensor, its photosites would be dwarfed by those of a DSLR with the same number of megapixels, but a much bigger sensor. Able to gain more information, the large DSLR photosites would be capable of turning out photos with better dynamic range, less noise and improved low light performance than its smaller-sensored sibling. Which as we know, makes for happy photographers.

Larger sensors also allow manufacturers to increase the resolution of their cameras – meaning they're able to produce more detailed images – without sacrificing too much in terms of other image quality attributes. For example, a Full Frame camera with 36 megapixels would have very similar sized pixels to an APS-C camera with 16 megapixels

But I thought megapixels didn't matter!

Megapixels are a passionate issue for photographers; they're up there with the "which is better, Canon or Nikon?" debate. Some argue that no-one needs more than 16 megapixels (a couple of years ago it was eight) while others are of the opinion that the added detail is worth the trade off in terms of noise and the computer processing power needed to handle the extra large files.
The truth is that it's always going to be a balancing act between the efficiency of sensor technology, lens quality, image sensor size and ultimately what you want to do with your photographs. If you're going to heavily crop images or print them very large, extra resolution could be useful, if you're only sharing them online or producing normal prints, not so much. What we can conclusively say is that you can only make a call on megapixels in conjunction with considering sensor size.

What are the other characteristics of bigger sensors?

So larger sensors can help you capture better quality images, but they bring with them a number of other characteristics, some good and some bad. The first, and most obvious impact of a bigger camera sensor is that of size; not only will the sensor take up more room in your device, but it will also need a bigger lens to cast an image over it.
This is why smartphone makers generally stick with very small sensors, they want to keep devices pocketable and not deal with the bulk of larger lenses. It also explains why professional photography gear is still so big and heavy. The cost of producing bigger sensors also means that devices packing them also have a bigger price-tag.

If the HTC One had a Full Frame sensor rather than a 1/3-inch sensor, it wouldn't fit in your pocket, as this comparison with a Canon 5D Mark III shows

Bigger sensors can also be better for isolating a subject in focus while having the rest of the image blurred. Cameras with smaller sensors struggle to do this because they need to be moved further away from a subject, or use a wider angle (and much faster) lens, to take the same photo. Replicating a Full Frame 28 mm f/2.8 shot on a mobile phone-sized 1/3-inch sensor would take a 4 mm f/0.4 lens!
Angle of view is also something to consider when looking at cameras with different-sized sensors, particularly if using the same lenses between them. Cameras with smaller sensors than Full Frame 35 mm format (seen as the standard) have what's described as a crop factor. So an APS-C DSLR has a crop factor of 1.5x1.6x meaning that it crops into the Full Frame image – using a 28 mm lens on an APS-C giving a view similar to a 45 mm lens on Full Frame.

 The image above shows what smaller sensors would have captured if using the same lens to take this photo. You can see why devices with smaller sensors use much wider angle lenses, especially by the time you reach smartphones. The lenses on these cameras are often detailed by their 35 mm format equivalent focal length to give a better idea of the angle of view they give.

The trend for cameras with bigger sensors

In recent years, camera manufactures have realized that more and more photographers are wanting the sort of better quality images that only come from having a bigger sensor. As such, we've seen devices (from smartphones to DSLRs) being sold with bigger sensors than in the past.

Within the smartphone market, Nokia has led the way with larger sensors – currently peaking with the Nokia 808 Pureview, which has a 1/1.2-inch sensor and can produce images to rival many compact cameras. In terms of point-and-shoot cameras, the Sony RX100 brings a 1-inch type sensor to the party, and Canon has released the not-quite-a-compact G1 X with a 1.5-inch sensor.
Mirrorless interchangeable lens systems have also seen small-bodied cameras fitted with larger sensors, typically ranging from Micro Four Thirds to APS-C … which have also made it to enthusiast compacts like the Fuji X100 (now the X100S) and the Nikon COOLPIX A. At the same time, the price of Full Frame DSLRs has also fallen, with the likes of the Nikon D600 and Canon 6D, bringing the affordability of big sensor shooting to a much wider market.

What do different sensor measurements mean?

Manufacturers can sometimes be strangely coy about revealing exactly how big a camera's image sensor is. And even when they do volunteer this information, it's often in a hard-to-understand naming convention … as the last section may have proved. Seriously, how many people would be able to tell you exactly how big a 1/1.2-inch or Micro Four Thirds sensor is without consulting the internet?
Bizarrely, the mostly fractional measurements used to detail sensor size date back to the age when vacuum tubes were used in video and television cameras. But the size designation is still nothing like as simple as the diagonal measurement of the sensor. Instead, it's the outer diameter measurement of a tube needed to produce an image, when the usable image takes up two thirds of the circle. Yes, it's that crazy.
It also doesn't help that different manufacturers use the same title to refer to different sizes, such as APS-C. While a Canon APS-C sensor measures 22.2 x 14.8 mm, the offerings from Sony, Pentax, Fujifilm and Nikon (DX) vary from 23.5 x 15.6 mm to 23.7 x 15.6 mm.
While we'd like to see all camera manufacturers listing the size of their sensors in millimeters, we can't see it happening any time soon. So, in the mean time, here's a couple of graphics showing some of the most common sensor sizes in relation to a Full Frame one.

Obviously there are also Medium Format cameras with even bigger sensors than those shown here, but if you're in the market for one of those, hopefully you already know how they differ.

What sized sensor is typically used in different cameras?

Smartphone Cameras – Most smartphones, including the iPhone 5 use a tiny 1/3.2-inch image sensor. In real terms this measures just 4.54 x 3.42 mm and explains how they are able to keep devices so slim and light, but also why image quality and low light performance suffers, especially when they can have as many as 12 megapixels. The HTC One uses a slightly larger 1/3-inch sensor (4.8 x 3.6 mm) and fewer pixels to combat this. The undisputed king of smartphone sensors, the Nokia 808, has a 1/1.2-inch sensor (10.67 x 8 mm).

 Compact Cameras – With sensors starting as small as 1/2.7-inch (5.37 x 4.04 mm), it's easy to see why smartphones are making many compact cameras redundant. Budget compacts simply don't have sensors big enough to produce significantly better images. Typical compact cameras such as the Canon IXUS 255 HS and the Samsung Galaxy Camera use 1/2.3-inch sensors (6.17 x 4.55 mm) while more competent ones like the Canon S110, Panasonic DMC-LX7 and the Nikon P7000 come in at a larger 1/1.7-inches (7.6 x 5.7 mm).

Higher-end Compacts – With demand growing and the price of producing larger sensors falling, there are a growing number of higher-end compact cameras with larger sensors. For example the Fujifilm X20 has a 2/3-inch (8.8 x 6.6 mm) sensor while the Sony RX100 has an even bigger 1-inch sensor (12.8 x 9.6 mm). The Canon G1 X even boasts a 1.5-inch sensor (18.7 x 14 mm).

Ultra High-End Compacts – Increasing sensor size again are the growing range of ultra high end compacts. These are cameras such as the Leica X2, Fuji X100S and Nikon COOLPIX A, which all feature an ASP-C sensor (23.7 x 15.6 mm) along with a fixed-focal-length lens. There's also the Sony RX1 which does the same, but with a Full Frame sensor (36 x 24 mm).

Mirrorless Camera Systems – Within the mirrorless camera market, there is a wide range of sensor sizes. The smaller ones include the 1/2.3-inch (6.17 x 4.55 mm) sensor seen in the Pentax Q, and the 1-inch (12.8 x 9.6 mm) sensor used in the Nikon 1 Series. Panasonic cameras such as the LUMIX GF5 and offerings from Olympus (including the PEN series and the OMD EM-5) use a Micro Four Thirds 4/3-inch (17.3 x 13 mm) sensor.
Getting larger still are the APS-C offerings which include the Canon EOS M (22.2 x 14.8 mm) along with the NEX range from Sony and those those from Fujifilm (23.5 x 15.6 mm) … yes, not all APS-C sensors are the same size. Leica rangefinders such as the Leica M have a Full Frame (36 x 24 mm) sensor.

DSLRs – By the time you get up to DSLRs and other professional cameras, the sensor size has obviously increased. Most DSLRs whether from Canon, Nikon, Pentax or Sony use either an APS-C (22.2 x 14.8 mm Canon and 23.5-23.7 x 15.6 mm for others) or a Full Frame (36 x 24 mm) sensor. While Full Frame DSLRs have been the reserve of professionals for a number of years, more consumer-focused models such as the Nikon D600 and Canon 6D are now being released.

Summing Up ...

It's clear that more people are realizing that bigger image sensors mean better quality photographs (at least as much as, if not more than, megapixels) and thankfully manufacturers are beginning to cater to this demand with cameras like the Sony RX100 and Nikon COOLPIX A, which are presumably just the beginning.
That said, we'd like to see camera and smartphone makers being a bit more transparent about what size sensor is used in different devices and not hiding it away on some spec sheet in a hard-to-decipher format, or omitting it altogether. Retailers also need to step up and start publishing details on sensor size. It's only knowing (and understanding) this information that will allow consumers to make an informed decision on what they are purchasing.
Obviously, not every device can pack a considerably bigger sensor – as other issues such as form-factor and cost come into play – but do the sensors in smartphones and most compact cameras still need to be so tiny? Yes, the bigger sensor on the Nokia 808 added a significant bump, but few users seem to mind when looking back at their photographs, and a bigger sensor doesn't necessarily mean jumping to those proportions.
As sensor technology improves, we're seeing much better performance out of smaller sensors, but bigger will always be better. Does improved image quality justify the bigger device and price for you? Only you know the answer … but we hope that this guide will help you better understand the importance of sensor size when making your next camera purchase.