Sony confirmed the announcement of the a1II mirrorless camera on November 19th:
B&H also already listed the Sony a1 II model on their website:
The rumored/leaked Sony a1 II camera specifications and pictures can be found here:
You can watch the Sony a1II presentation here:
The post Sony a1 II camera announcement confirmed for November 19th appeared first on Photo Rumors.
Fujifilm announced the development of its first filmmaking camera - the Fujifilm GFX Eterna (Fujifilm GFX Eterna 102 MP medium format cinema camera):
Achieving rich, true to life visuals with the large format sensor
Paving the way for a new era of film production and timeless masterpiece creation
TOKYO, November 12, 2024 – FUJIFILM Corporation announces that it is currently in the process of developing its first-ever filmmaking camera, the “FUJIFILM GFX ETERNA” (GFX ETERNA), with plans for a release in 2025. The “GFX ETERNA” will feature a large format sensor, “GFX 102MP CMOS II HS”, which is approximately 1.7 times larger than a 35mm sensor, and the high-speed image processing engine “X-Processor 5”, enabling filmmakers to capture rich, true to life visuals and have enhanced flexibility in post-production. Both the “GFX 102MP CMOS II HS” sensor and “X-Processor 5” are the latest technologies featured in the mirrorless digital camera “FUJIFILM GFX100 II”, which delivers extraordinarily high image quality with its 102 million pixels.
Fujifilm will showcase the “GFX ETERNA” as a reference exhibit at the comprehensive media event “InterBEE 2024”, which will be held from November 13th to 15th 2024.
After its founding in 1934, the Fujifilm Group has played an important role in Japan’s film industry by developing and introducing domestically-produced positive film for movies. Through continuous innovation, Fujifilm has expanded its product range to include the motion picture color negative film “ETERNA series” and the cinema zoom lenses “Premista series” and “ZK Cabrio series”. For over 90 years, Fujifilm has been providing reliable products for the film production industry and beyond. In addition to its success with photographic films, cameras and digital cameras, in 2017, Fujifilm introduced the groundbreaking mirrorless digital camera “GFX series”, featuring a large format sensor approximately 1.7 times larger than a 35mm sensor, delivering extraordinarily high image quality. Fujifilm has since made continuous improvement to the “GFX series”, including its video capabilities.
The “GFX ETERNA,” currently in development, is set to revolutionize film production. Leveraging Fujifilm’s expertise and experience in the field of filmmaking, the company will combine the exceptional capabilities of Fujinon lenses with the advanced technology of the “GFX series.” Aptly named “GFX ETERNA,” it aspires to become a driving force in shaping a new era of filmmaking and dedicate to contributing to the creation of timeless cinematic masterpieces.
In addition to the development of the “GFX ETERNA”, Fujifilm is also working on the development of a power zoom GF lens that is optimized for this G mount camera, planned to have actual focal length of 32-90mm, and a mount adapter from G to PL mount lenses, widely employed in film production.
As the demand for producing various types of videos such as feature films, short films, documentaries, and web content continues to grow, there is a growing need in the film production industry for high-quality videos that can be produced quickly and inexpensively. In preparation for the launch of the “GFX ETERNA”, Fujifilm will conduct rigorous field tests, while expanding its product lineup to enhance the “GFX system”. Through these efforts, Fujifilm is committed to contributing to the video production with high-quality and productivity across a wide range of fields.
More pictures of the Fujifilm GFX XΩ modular medium format mirrorless camera prototype
Fujifilm X Summit at GPP Photo Week 2019 recap (Fujifilm GFX modular mirrorless camera prototype)
The post Fujifilm announces the development of its first filmmaking camera: the Fujifilm GFX Eterna (Fujifilm GFX Eterna 102 MP medium format cinema camera) appeared first on Photo Rumors.
Sony sent invitations in China for the upcoming event on November 20-21, where the rumored Sony A1 II camera and Sony 28-70mm f/2 GM lens will be officially announced:
Sony is rumored to announce a new FE 24-70mm f/2 GM lens – here are the details
The post Sony sends invitations for the upcoming event on November 20-21 (Sony A1 II camera + Sony 28-70mm f/2 GM lens expected) appeared first on Photo Rumors.
It seems that the rumors about new Ricoh GR IV and GR Monochrome cameras got debunked pretty quickly:
“Sorry! The online rumor that the Ricoh GR4 camera may be released in the first quarter of 2025 has been verified by internal channels to be false news. An insider was quoted as saying: “The release date of the Ricoh GR4 is still unknown, but it will definitely not be in the first quarter of 2025". When asked why there were rumors of the release of the Ricoh GR4? The source responded: The Ricoh GR series cameras are highly praised by users and the market feedback is hot. It is not surprising that there have been many rumors about the release of the GR4 last year and this year. It is too early to talk about the specific release date of the Ricoh GR4 camera. The existing GR3 and GR3x series models are still in short supply.”
Rumors about new Ricoh GR IV and GR Monochrome cameras got debunked quickly
Somebody converted their Ricoh GRIIIx camera into Monochrome (DIY)
The post Debunked: rumors about new Ricoh GR IV and GR Monochrome cameras appeared first on Photo Rumors.
The previously reported 7Artisans 9mm f/5.6 ASPH lens for E/L/R/Z with a new rear ND filter is now officially announced and available for order:
Additional information:
The post Announced: 7Artisans 9mm f/5.6 ASPH lens with a new rear ND filter appeared first on Photo Rumors.
The previously rumored 7Artisans 10mm f/2.8 II ultra wide-angle full-frame fisheye lens for E/L/R/Z is now officially announced and available for order:
Additional informiton:
Technical specifications:
The post Announced: 7Artisans 10mm f/2.8 II ultra wide-angle full-frame fisheye lens (E/L/R/Z) appeared first on Photo Rumors.
Pergear announced a new 100mm f/2.8 full-frame 2x magnification ultra macro lens for Sony E, Nikon Z, Canon RF/EF, and Leica L cameras (price: $287). Pre-orders are now open at Amazon US | Amazon CA | Amazon UK |Amazon DE.
Additional information:
Lens design
1:1 Magnification
2:1 Magnification
Infinity
The new lens appears to be identical to the TTArtisan 100mm f/2.8, but the Pergear version is significantly cheaper:
TTArtisan 100mm f/2.8 2x full frame macro lens now available (E/X/Z/RF/L/GFX/F/EF)
New TTArtisan 100mm f/2.8 2x full frame macro lens announced
The post New: Pergear 100mm f/2.8 full-frame 2x magnification ultra macro lens (E/Z/RF/EF/L) appeared first on Photo Rumors.
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Nikon has talked about targeting 'creators' with each of the four APS-C Z-mount cameras it's launched so far, but has generally made sure the results are solidly photographer-friendly, too.
Its Z50 and Zfc models were differentiated primarily by the Zfc having a fully articulated rear screen, along with throwback styling and controls, which meant that the decision between the two was primarily a question of style. The Z50's built-in flash was the other key feature to set them apart.
With the launch of the Z50II, even the difference in rear screen movement has been eliminated, which might make the choice seem even harder. But the Z50II is based on a newer generation of technology than the Zfc, so we thought we'd take a look at what that means, so you can work out how much it matters for your needs.
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Both the Zfc and Z50II are based around the same 21MP CMOS sensor, first introduced in 2016's D500 DSLR. We've seen 26 and 40MP APS-C sensors arrive in the intervening years but although these can capture more detail, they don't generally do any better in terms of tonal quality, noise and dynamic range, so we're not overly concerned about its age.
The main respect in which the two cameras differ is in terms of processor. The Z50II is built around the newer, more powerful Expeed 7 processor, helping it deliver a level of capability and performance the Zfc simply can't match.
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The newer, more powerful processor gives the Z50II much improved autofocus (which we'll look at later in this slideshow) as well as enabling faster shooting and much more flexible video.
In stills mode the Z50II can capture 15 or 30fps bursts of JPEGs with full autofocus, making it much better for capturing action than the Zfc, which topped-out at 11fps in JPEG (9fps in Raw). Also on the Z50II's side is its pre-burst capture mode that starts buffering images when you half-press the shutter, letting you record up to one second of action from before you fully press the button.
The Z50II can also capture 10-bit video, which expands your output options, and 4K/60p from a 1.52x crop region of the sensor. We'll look into the implications of this later.
The cost of the new processor is a precipitous drop in battery life. The Z50II is rated as delivering around 38% fewer shots per charge than the Zfc, using the same battery. This is a slightly unfair comparison, given the Z50II has a flash and the Zfc doesn't, but it's still rated to give at least 25% fewer shots per charge than the original Z50.
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Beyond the difference in capabilities, the two cameras also differ in terms of controls and handling. The Zfc has dedicated dials for shutter speed, aperture and ISO, along with a P/A/S/M switch. It also has two command dials, so can be used in the same way as the Z50II, if you prefer. We found the Zfc's dedicated controls to be somewhat quirkily implemented – you'll often end up using the command dials to fine-tune the settings and the Auto ISO implementation is downright peculiar – but it looks distinctive and attractive in a way it's hard to argue the Z50II does.
The Z50II has an updated viewinder that, while it shares the same resolution and magnification as the Zfc (and its own predecessor), has a new OLED panel that can reach a peak brightness twice as high as the older cameras. This means there should be a less jarring transition when you start and stop using the viewfinder in bright conditions.
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Autofocus is another area in which the Z50II benefits from a newer processor and five years more development.
The most obvious difference is that the Z50II has been trained to recognize nine different subject types (up from three) and gains an 'Auto' subject mode that prompts the camera to check for all the different subjects it can identify. This risks slowing the AF down a fraction in the very fastest-moving circumstances, at which point you can select the type of subject you're trying to capture, but for the most part, you can just leave it set to Auto and know the camera will use its full capabilities when needed.
But perhaps a bigger deal for day-to-day photography is the return of 3D Tracking, which mimics Nikon's quick and easy-to-use tracking system from the DSLR era. This helps bring the Z50II up to the standards of the latest Canon and Sony cameras in terms of speed and ease of use, whereas the Zfc's tracking was a little slower and more fiddly to use. The Z50II's tracking is generally less prone to drifting off its subject than with the Zfc.
All this makes the Z50II a quicker and easier to use camera in a wide range of photographic situations.
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Given they're based around the same 21MP CMOS sensor, we're not surprised not to have seen any obvious differences in image quality between the two cameras. This is no bad thing, as it's a chip that does a good job of balancing the demands of stills and video, even if it does fall a little behind some of the newer Fujifilm and Canon models in terms of detail capture.
However, while the image quality is directly comparable, the Z50II gains a button giving you direct access to the camera's Picture Control color modes and lets you download alternative color recipes from Nikon's cloud service. This should prompt much more experimentation with color modes than you're likely to remember to with the Zfc.
Finally, the Z50II can output 10-bit HEIF files conforming to the HLG standard, allowing you to take advantage of the greater capabilities of modern high dynamic range displays.
Neither camera would be our first choice for, say, landscape photography or situations that really benefit from additional detail capture, but they're both very capable for most requirements.
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The Z50II ends up being a significantly more capable video camera than the Zfc, despite them being based around the same sensor and both being aimed at a stills and video creator audience.
The Z50II gains the ability to capture 10-bit video. This allows it to shoot N-Log video that tries to maintain as much of the camera's captured data, to boost creative flexibility for color grading the footage. It also lets the camera capture Hybrid Log Gamma (HLG) video which is designed to take advantage of the wider range of colors and brightness that high dynamic range displays can offer.
It also gains a waveforms display that is especially useful for setting exposure when shooting Log footage. But the thing that's likely to have the biggest impact for the largest number of video shooters is that the Z50II has a headphone socket for monitoring audio (whether setting levels before recording or listening for distractions during recording), which the Zfc lacks.
Perhaps the most critical difference, though, is that the Z50II's video autofocus is much more reliable.
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In this article we've assumed you're interesting in buying into the APS-C line of Nikon's Z mount. Obviously there's no difference between the Z50II and Zfc in terms of available lenses, but it's still worth looking at what's available.
Now that Nikon has allowed Sigma to introduce some additional primes and Viltrox has just gone ahead and made some anyway, the baby Nikons are a much more interesting prospect than they were a few years ago. In terms of zooms you're currently stuck with Nikon's rather pedestrian variable aperture options, but there are plenty of primes to pick from.
Other companies offer more own-brand APS-C lens lineups and higher-end models with higher res and image stabilization that Nikon lacks, but we're no longer in the position of Nikon making nice-enough bodies with very limited lens choices.
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The decision between the original Z50 and the Zfc primarily came down to a question of how much importance you gave to the style and traditional controls of the Zfc, vs the value of the built-in flash offered by the Z50.
The Z50II makes enough of a leap forward, in terms of speed, autofocus sophistication and video that most people will be better served by the new camera, rather than the Zfc. You have to be really attracted by the styling (and unwilling to wait to see if there's going to be a ZfcII) to opt for the smaller, more retro model, at this point.
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| Image: 7Artisans |
7Artisans has announced the 10mm F2.8 II, a full-frame fisheye lens for Canon RF, Nikon Z, Sony E and L-mount camera systems, which replaces the company's existing 10mm F2.8 lens. 7Artisans suggests the lens should be good for applications like landscape, architecture and astrophotography.
Optically, the 10mm F2.8 II comprises 11 elements in 8 groups, including one aspherical and one ED element. The lens is manual focus with an internal focus design, and the minimum focus distance is 0.15m (5.9"). It features a 10-bladed aperture.
The lens is constructed of metal and has a de-clicked manual aperture ring. It also has distance and depth of field scales.
The new lens weighs 602g (1.3 lbs), or about 6% more than its predecessor. It's 75mm (3") in diameter and 95mm (3.7") long.
The 7Artisans 10mm F2.8 II retails for $278 and is available immediately.
The latest Kickstarter/Indiegogo updates:
New MAMBAPOD portable tripod that can be set up anywhere: $193,005 raised.
New GRUMBLER do-it-yourself customizable divider system for camera bags: $2,269 raised.
New BAGVENT multifunctional travel desk companion hanging bag: $2,692 raised.
Sidekick Pro camera back by Clever Supply: $104,578 raised.
New Super telephoto 240mm lens for smartphones: $379,042 raised.
New Snapzy interactive projector camera for kids & families: $9,585 raised.
New: EduSnap 2-in-1 telescope: $98,456 raised.
Previous successfully funded campaigns that are still available:
Peak Design Outdoor Line camera bags: late pledges available.
LIT DUO 1 light meter: late pledges available.
OnePro backpack for outdoor photography: available for pre-order.
SWIFT-LOCK by SPINN.DESIGN: available for pre-order (use code RUMORS for 15% off).
UnifyDrive UT2 portable NAS for creators on the go: late pledges available.
4k night vision telescope & camera: late pledges available.
The post Updates on the latest Kickstarter+Indiegogo photography projects appeared first on Photo Rumors.
Leica announced a new Cine Play 1 compact and lightweight 4K premium home cinema projector
Leica Noctilux 50mm f/1.2 black paint lens rumored to be announced next
There is no more a space in the Nikon Z camera model nomenclature
Canon RF50mm F1.4L VCM and Canon RF70-200mm f/2.8 L IS USM Z Shortages
The post What else is new? appeared first on Photo Rumors.
This week, Nikon announced its latest APS-C camera, the Z50II. It's an update to 2019's Z50, using the same sensor but with an upgraded processor. With it comes Nikon's 3D tracking autofocus system, which can recognize up to nine subject types and automatically switch between them.
During our brief time with the camera, we were able to put it to the test shooting some wildlife around Seattle, as well as a variety of landscapes and other subjects.
You can read our overview of the Z50II and our initial review here.
7Artisans will announce a new 9mm f/5.6 ultra-wide angle lens with a rear ND filter on November 11:
The previously rumored 7Artisans 10mm f/2.8 II lens will also be announced on November 11:
Additional information on the upcoming 7Artisans 10mm f/2.8 II lens (E/Z/R/L)
The Meike 85mm f/1.8 Pro series lens will be officially announced on November 11:
The post Coming next week: Meike 85mm f/1.8, 7Artisans 9mm f/5.6, and 10mm f/2.8 II lenses appeared first on Photo Rumors.
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| Images: Lowepro, Harlowe, DJI |
This week there were a ton of accessories released, so we're going to skip any pre-amble and get straight into it. Let's start with the deals:
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| Photo: Richard Butler |
We're still several weeks away from Thanksgiving, but several brands have already started announcing their holiday sales. First off is Sony, which has put several cameras and lenses on sale. Included on that list is the a7RV, which is available for $400 off MSRP.
$3,498 at B&H $3,498 at Amazon $3,498 at Adorama |
If you're looking for a more entry-level model, the a7IV is also on sale for $400 off.
$2,098 $2,098 at B&H $2,098 at AdoramaThe deals also cover lenses; Sony has reduced the price of several of its G Master lenses by $100.
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| Photo: Tamron |
Tamron has also put many of its lenses on sale. Its 28-75mm F2.8 G2 for E-mount is $200 off, as is its 35-150mm F2-2.8, which is available for Sony E and Nikon Z mount. You can see the full list of lenses on sale on Tamron's website.
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| Image: SmallRig |
This week, Nikon announced its new Z50II APS-C camera. If you're on the list to get one, you may also want to check out some of the accessories SmallRig's making for it. There are the usual suspects; a $30 base plate for quickly mounting the camera to a tripod and attaching a few accessories, and a $70 cage if you really want to build a video shooting setup, but there's also a wireless shooting grip.
The grip, which is currently listed as "coming soon" on SmallRig's website, does many things; it's a mini tripod that you can use to prop your Z50II up on a table, as well as a selfie stick. Built into the handle is a detachable remote you can use to wirelessly control your camera. It has a zoom toggle, shutter and record button and a customizable button.
While it's not the type of thing that will likely appeal to seasoned photographers the way the cages and plates will, it is a smart accessory for the younger beginner photographers that the Z50II is mainly aimed at. Currently there's no word on pricing, though SmallRig does make a very similar product for Canon and Sony that runs around $90.
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| Image: Harlowe |
Harlowe, the company formerly known as Hobolite, which makes lighting equipment designed to look like classic film equipment, has some new lights available. First up are two RGB lighting tubes, which Harlowe calls the Blade series. The Blade 5 is 16.4cm (6.46") long, and the Blade ten is 36cm (14.17") long. They can be used to add a splash of color, or as tradition lights, as they also have a traditional bi-color white lighting mode.
Like most of Harlowe's products, there's a heavy emphasis on design; the Blade lights have a leather and metal look, which could be attractive to people who intend on including them in their shots. They're powered by a built-in battery, which charges via USB C, and can be controlled via dials or an app.
You can magnetically attach modifiers to the Blade lights, and they come with a frosted dome diffuser and barn doors, as well as a carrying bag. The Blade 5 is $199 and the Blade 10 is $299; there's also a kit that comes with one of each size for $399.
Blade 5
$199 at B&H $199 at AmazonBlade 10
$299 at B&H $299 at Amazon |
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Folded up, the Sol 5 almost looks like an old lens. Image: Harlowe |
For creators that often shoot videos and photos on their phones, Harlowe has also released the Sol 5, a bi-color light that magnetically attaches to the back of an iPhone via MagSafe. By default it points away from the screen, lighting up whatever you're shooting with your phone's rear cameras, but it can also be flipped up to help provide some extra light for selfies. The Sol 5 is $79 by itself, or $159 if you opt for the "Travel Kit," which includes a diffusion panel and a carrying case.
$79 at B&H $79 at Amazon |
| Photo: Lowepro |
Lowepro has announced a ton of new bags in its new Protactic III series, including some classic photographer-focused backpacks, slings, and more. There are a variety of sizes and classes of bags; the "Lite" models can still carry a bunch of gear but aren't as burly as the standard bags. The Lite models have a few of Lowepro's "SlipLock tabs" which can be used to add pouches, pockets, and other accessories onto the bag, but the regular models are absolutely covered with them. The loops are also compatible with standard MOLLE and PALS add-ons.
Compared to older models, Lowepro says its BP 350 and 450 packs have an "adaptive harness" to make carrying heavier loads more comfortable, an improved webbing system that makes it easier to attach large tripods to the bag, an updated divider system, and more exterior pockets. Like the previous Protactic packs, they have four access points, letting you get at your gear from the top, back, or either side of the pack.
Most of the packs in the lineup are made of somewhere between 85 and 87% recycled fabric, which Loewpro says still meets its standards for durability.
The packs and their respective accessories should be available starting later this month.
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| Photo: DJI |
DJI has announced a newer, less expensive pair of FPV drone goggles called the Goggles N3. They're designed to work with the company's Avata 2 and Neo drones, and are built around a 1080p 60Hz LCD display that can put out up to 1350 nits of brightness. While that's definitely a step down from the dual Micro-OLED displays in DJI's more expensive Goggles 3, it does offer a 54° field of view, which is wider than the 44° FOV of the more premium goggles.
The Goggles N3 have a built-in defogging function, which could be useful if you're flying in a humid environment. They can be also used to play back panoramic videos from a microSD card, in case you want to feel like you're flying without actually getting out your drone.
The Goggles N3 will cost $229 when they launch later this month.
Click to see last week's roundup
Fujifilm Financial Results For FY2025 Q2 – Strong Digital Camera Sales
Entertainment, Technology & Service Segment:
The post The latest financial results from Nikon, Ricoh, Fujifilm, Canon, and Sony appeared first on Photo Rumors.
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Updated Nov 8, 2024
Sixteen years after Panasonic introduced the first mirrorless camera, mirrorless cameras now dominate the interchangeable lens camera market. They include cameras designed for a wide range of photo and video pursuits and models at everything from budget to professional price points.
We've used and tested just about every current mirrorless camera on the market and picked out what we think are the stand-out models. We'll start with the most affordable models, then work our way up from there. In general terms, as you move up the price ladder, you'll see larger sensors with better image quality, higher resolution, faster burst rates, or more capable video specs. We'll explain why we've chosen each camera and try to explain the advantages and disadvantages of each choice.
24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture
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| Photo: Richard Butler |
The Sony a6100 is an entry-level APS-C mirrorless camera. While in 2024 it's one of the older camera still available, its 24MP sensor, touchscreen for easy focus placement and Sony's excellent autofocus tracking, which especially excels at focusing on people and pets, still make it excellent value for its price.
The a6100 is happiest if you prefer to point-and-shoot in an auto mode, supported by its very good autofocus. The wide range of lenses available for it give you somewhere to grow if you find yourself catching the photography bug.
See the Sony a6100 studio scene
26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen
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| Photo: Richard Butler |
The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters.
The a6700 might look a lot like the a6100, but it's a much more advanced model with better build quality, greater capabilities in both stills and video, and more hands-on control points.
Read our full Sony a6700 review
See the Sony a6700 studio scene
Although the Sony a6700 is the most capable APS-C camera, if you consider autofocus performance, image quality and video capabilities, there are several other worthy contenders to the title. We appreciate the combination of affordability and likeability of Nikon's Z fc, now that there are a handful of prime lenses to use with it, and we respect the Sony-rivaling capabilities of several of Canon's APS-C RF models, which you can now get some decent third-party fast zooms for. If you're willing to take a chance, Nikon's Z50II also looks to be a very interesting follow-up to the Z fc, but we haven't been able to test it enough to include it on this list.
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Fujifilm's X-T50 is also worth considering if you're looking at APS-C cameras Photo: Richard Butler |
But it's the Fujifilm X-T50 that we'd suggest considering if you don't think the a6700 is for you. We like its design – including the film simulation button that encourages you to play with different looks – and it shoots great video and attractive stills. Touches such as the AF joystick make it that bit more engaging and enjoyable to shoot with, than the Sony.
Its autofocus tracking isn't nearly as reliable as Sony or Canon's latest cameras, but where it really shines is in the selection of lenses available for it. Fujifilm makes a broad selection of prime lenses and the excellent 16-50mm F2.8-4.8 OIS zoom, which is significantly better than the lenses bundled with most of these cameras. Third party support is strong, too, meaning the camera can grow with you as your photography develops.
Full-frame cameras (those with image sensors the same size as traditional "35mm" film) offer the potential for better image quality than smaller formats, simply because they have a larger area on which to capture light. However, you don't get something for nothing: even if you can find an affordable, compact full-frame camera at a good price, the lenses needed to make the most of it will be larger and will typically cost more than those for APS-C or Four Thirds sensors. Broadly speaking, there's a balance to be struck between image quality, size and price, which is worth contemplating before you make the assumption that full-frame is the best (or even 'better') format.
24 MP full-frame CMOS sensor | 4K/60p 10-bit video recording | 8 fps burst shooting
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| Photo: Richard Butler |
The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.
Read our full review of the Canon EOS R8
See the Canon EOS R8 studio scene
We also think the Nikon Z5 is worth considering if you're looking for a comparatively affordable full-frame camera. It's older than the Canon and its autofocus tracking and video capabilities lag significantly behind as a result. Like Canon's RF system, Nikon's Z-mount lens ecosystem is also somewhat short on affordable lenses to pair with an entry-level camera, though Nikon has allowed a couple of other brands to make selected lenses for the system.
Its usability is really what earns it a place in this guide, though. The Z5 has a larger, higher-resolution viewfinder than the EOS R8, much longer battery life, in-body image stabilization and an AF joystick, all of which can make it a rather more enjoyable camera to shoot with. Definitely worth a look.
24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV
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| Photo: Richard Butler |
There are some exceptionally good cameras in the $2000-$2500 price category, but few of them are as eye-catching as the Nikon Zf. While the styling is distinctly 1981, the performance is much more contemporary, with very competitive autofocus and the strong balance of stills and video capabilities that we've come to expect from a camera at this price.
Read our review of the Nikon Zf
25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF
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| Photo: Richard Butler |
The Nikon Z6III represents a significant step up for the Z6 series, and from the Zf, becoming a very capable camera for both stills and video. Its autofocus has caught up to the pack, and its sensor readout speeds – and, therefore, rolling shutter performance in video – are among the best in its category.
Read our full review of the Nikon Z6III
See the Nikon Z6III studio scene
There are plenty of other cameras worth considering, in the around $2000 price category. Canon's EOS R6 II is probably the strongest competitor to the Z6III. It has a slightly smaller viewfinder, and its video specs aren't as good, but if you're just looking to shoot stills, your choice between the two should be dictated purely by which system has the lenses you want at prices you're happy with.
If you shoot outside a lot and need a compact system with excellent weather sealing, the OM System OM-1 II is worth considering; outside of that use case, it's probably worth considering other options unless you're heavily invested in Micro Four Thirds lenses.
Sony's a7 IV is also not a bad choice, with capable autofocus and slightly higher resolution capture than its peers, though its video suffers as a consequence. However, we'd strongly recommend the smaller, less expensive a7C II instead. Its autofocus is a generation newer, and it's appreciably smaller than its rivals. The viewfinder is small, and there's no AF joystick, though, which are the main reasons it's not one of our main picks.
45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting
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| Photo: Richard Butler |
The Canon EOS R5 II is one of the most capable cameras we've ever tested and will almost certainly be up to any task that most photographers can throw at it. It shoots at high resolution, has an excellent autofocus system and sports plenty of video features.
Read our Canon EOS R5 II review
See the Canon EOS R5 II studio scene
The strongest competitor to the EOS R5 II besides the original EOS R5 is Nikon's Z8. Canon's high-end entry does have some features that could be useful to certain photographers, like Action Priority AF and Eye Control, but outside of that your choice should again be dictated by lens selection, as they're both supremely capable cameras.
61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system
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| Photo: Richard Butler |
The Sony a7CR takes most of the features of the more expensive a7R V and provides them in a smaller package. The viewfinder is disappointing for such an expensive camera, but nothing gives you so much image quality in such a small, capable package.
Read our Sony a7CR initial review
Just about all the cameras that cost $2500 and up are, unsurprisingly, rather good. We go into a little more detail about their relative merits in our 'High-end camera buying guide.' As at any price, the key things to consider are what types of photography you plan to do (and hence, which features and capabilities are most important to you), and whether the lenses you need are available at a price you're willing to pay.
This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
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The Nikon Z50II is the company's latest entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. As with the original Z50, it's expressly aimed at stills and video creators looking for a small camera that makes it easy to upload.
It brings updated burst modes and AF functions to its predecessor, but most of the advancements are on the video side of the camera.
The Z50II will retail for $909 body-only and $1,049 as a kit with Nikon's DX 16-50 F3.5-6.3 lens. The company says it'll be available in "late November."
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The Z50II is, as the name suggests, an updated version of the company's original APS-C Z-mount camera. Much of what it gains comes from the use of a newer, more powerful Expeed 7 processor, but there are some subtle yet potentially significant additions beyond that.
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| The new Picture Control button is right above the rear control dial. |
It's a change unrelated to processing power that helps signpost what the Z50II is and who it's intended for: the addition of a dedicated 'Picture Control' button to let you select the camera's color mode.
The changes go deeper than the labeling of a button, though. The Z50II becomes the first model to offer 'flexible' Picture Control profiles that let you adjust or download additional profiles. The camera comes with 31 but you can add more, and limit which ones appear when you hit the Picture Control button, so that it doesn't become overwhelming.
Nikon has, at least as far back as 2008, been one of the few brands to offer software to let you edit its in-camera profiles. The company's NX Studio software lets you adjust the existing Picture Controls, applying your own custom tone curve or changing the sharpening and saturation of the profile. However, you only get limited control over the color response, with a global hue adjustment, rather than the ability to re-map colors that a LUT would give.
It's the ability to download Creator Recipe profiles from Nikon's Imaging Cloud that we suspect most users will experiment with.
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The Z50II also gains a brighter viewfinder, now capable of displaying up to 1000 nits, double the maximum brightness of the one in the existing model. The display isn't bright enough to fully preview HLG high dynamic range capture though, and is still the same 2.36M dot resolution.
One of the most significant improvements that does come from the new processor is the Z50II's autofocus system. It gains the subject recognition modes from other recent Nikon cameras, boosting the number of recognized subjects from three to nine.
| Nikon Z50II | Nikon Z50 / Zfc | |
|---|---|---|
| Subjects recognized |
|
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It also adds the 3D Tracking AF mode, that makes it quicker to track subjects, regardless of whether the camera has been specifically trained to recognize them.
Another Expeed 7 feature to arrive on the Z50II is its ability to shoot at high speeds in e-shutter mode, with the option to start buffering images when the shutter is half-pressed and saving images captured up to one second before the shutter button is fully depressed.
The Z50II's C30 and C15 modes can shoot with autofocus at up to 30fps or 15fps, respectively, though it only records JPEGs.
The Z50II is also compatible with Nikon's Imaging Cloud service, which debuted with the Z6III. That means that, when connected to a Wi-Fi network, it can automatically upload your photos to Nikon's servers, which shuffle them off to your choice of third-party cloud storage services, such as Dropbox, Google Drive, or Lightroom. You can also have your camera automatically download firmware updates, and have it sync Picture Control presets that you've selected on your computer or phone. While many cameras have similar features, they have to be paired with a smartphone or camera to use them – the Z50II can do it on its own connected to your router.
Despite using the same sensor as the Z50, Nikon has managed to squeeze significantly better video out of it. The Z50II can now encode video in 10-bit precision, allowing internal N-Log capture to maximize color and tone grading potential, or HLG high dynamic range capture for playback on HDR displays and TVs.
The Z50II also gains the ability to capture 4K/60 footage from a cropped region of the sensor.
On top of this, Nikon says the electronic image stabilization (eVR) in video mode is improved. The Z50II also gets a "product review" autofocus mode, that knows to override its face detection AF if an object is held up in front of the camera: a feature that can be useful for vloggers discussing a specific product they want to show.
The Z50II arrives into what was previously a competitive point in the market but one that fewer and fewer manufactuers seem to be catering to. Fujifilm offers the similarly beginner-friendly X-M5 for around $200 less, but with no viewfinder, or the high-resolution, image stabilized X-T50 for a whopping $400 more. Meanwhile, Sony offers the now rather elderly a6400 at a comparable price. It makes fewer accommodations to people new to ILCs and its age means its video spec lags way behind.
It's only really Canon, with its EOS R10 that offers an approximately like-for-like competitor to the Z50II. The other camera we feel it makes sense to compare is Nikon's own Zfc. It has near identical spec to the original Z50, other than it has a fully articulated rear screen. By including another Nikon entry-level camera, we can see what's changed over the past five years.
| Nikon Z50II | Canon EOS R10 | Sony a6400 | Nikon Zfc | |
|---|---|---|---|---|
| MSRP (With kit zoom) | $909 ($1049 w/ 16-50 F3.5-6.3) | $979 | $900 | $960 |
| Pixel count | 20MP | 24MP | 24MP | 20MP |
| Image stabilization | No | No | No | No |
| Max frame rate |
11fps (mech) 30fps (e-shutter, JPEG) |
15fps (mech) 23fps (e-shutter) |
11fps (mech) 8fps (e-shutter) |
11 fps (12-bit Raw) 9 fps (14-bit) |
| Viewfinder res. / mag. |
2.36M dot 0.68x |
2.36M dot 0.59x |
2.36M dot 0.71x |
2.36M-dot 0.68x |
|
Rear screen res. / type |
3.2" / 1.04M dot fully-articulated | 3.0" / 1.04M dot fully-articulated | 3.0" / 921k dot tilting touchscreen | 3.0" / 1.04M-dot fully-articulating |
| AF selection | Touchscreen / D-pad | Touchscreen / joystick | Touchscreen / D-pad | Touchscreen / D-pad |
|
Video |
UHD 30p full-width UHD 60p with 1.5x crop |
UHD 30p full-width UHD 60p from 1.56x crop |
UHD 24p full width 30p with 1.22x crop |
UHD 30p/24p full-width |
| 10-bit options | N-Log, HLG | HDR PQ | No | No |
| Mic / headphone sockets? | Yes / Yes | Yes / No | Yes / No | Yes / No |
| CIPA Battery rating (LCD/EVF) | 250 / 230 | 350 / 210 | 410 / 360 | 360 / 310 |
| Weight | 520g (18.3 oz) | 426g (15oz) | 403 g (14.2oz) | 445g (15.7oz) |
| Dimensions | 127 x 97 x 67mm (5.0 x 3.8 x 2.6") | 126 x 88 x 83 mm (5.0 x 3.5 x 3.3") | 120 x 67 x 60 mm (4.7 x 2.6 x 2.4") |
135 x 94 x 44 mm (5.3 x 3.7 x 1.7") |
As well as advances in technology, another change since we reviewed the Z50 is that both Nikon and Canon have allowed some third-party lenses into their respective APS-C systems. In the case of Nikon, that includes three of Sigma's DC DN prime lenses, which add relatively affordable ways to boost the camera's capabilities. Canon, meanwhile, has allowed Sigma to offer its two DC DN zooms, with four prime lenses to follow.
This still leaves both systems well short of the variety of APS-C focused lenses offered for Fujifilm's X mount, or of the selection available for Sony, but means you're not solely dependent on the camera maker's development priorities for either camera anymore.
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The body of the Z50II is very much like that of its predecessor, which is to say it's like a slightly shrunk-down version of Nikon's original Z-series full-frame models. Despite the size reduction, the Z50II retains a fairly substantial hand grip.
The body is primarily made from fiber-reinforced plastic, which gives it a fairly solid feel without becoming overly heavy. There's a textured coating around the handgrip and the back corner of the camera that gives a comfortable and reassuring amount of grip on the camera. The front and rear command dials are well positioned for forefinger and thumb operation without any need to shift your hand position on the camera.
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It gains four extra buttons along the back of the camera, compared with its predecessor, which means its controls much more closely mimic those of the full-frame Z models, with dedicated +/– zoom buttons, a drive mode button and a 'DISP' button being added. There's an additional button on the top of the camera, too: just behind the existing [REC], ISO and Exposure Comp buttons is a dedicated 'Picture Control' button.
It doesn't gain the joystick that the full-frame models have, though, and the Stills/Movie switch they feature around their DISP buttons is instead on the Z50II's top plate. The Play and Drive Mode buttons are transposed relative to the full-frame models, but we doubt enough people will be trying to shoot both side-by-side for this difference to matter).
The Z50II also moves from a tilt up/down screen to a fully articulated one, as featured on the Zfc and Z30. Nikon has described all four of its APS-C Z-mount models as being for 'creators,' so this change is no real surprise.
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The Z50II's viewfinder can now go as bright as 1000 nits: twice as bright as the one in the older model, which should mean there's less need for your eye to adapt when you're using the camera in bright sunshine. It's not bright enough to fully preview HLG images, though.
It remains a relatively low resolution 2.36M dot display, in keeping with the Z50II's lowly position in the lineup. It offers 0.68x magnification, in equivalent terms, which is pretty large for a camera at this price.
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The Z50II's specs tell the story of how far we've come in the five years since the launch of the original model. Its SD card slot can now make full use of the faster UHS-II cards, while its USB socket has been upgraded to the Type C standard and 5Gbit/s transfer rates. It's also been made compatible with the UVC/UAC USB video and audio standards, so it can be used as a webcam without the need for any specialist drivers or software.
The camera also gains a headphone socket to allow audio monitoring, something that really boosts its usefulness as a video camera.
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The Z50II uses a new EN-EL25a battery, which sees the capacity increase from 8.5Wh to 9.4Wh. Despite this 10% increase, the CIPA battery ratings for the Z50II are 250 shots per charge using the rear screen and 230 using the viewfinder. These are around 20% lower than on its predecessor, presumably as a consequence of the more powerful processor.
CIPA figures tend to assume extensive use of flash and rather more looking at image review than most people actually do, so we wouldn't be at all surprised to get twice as many shots as this in our own usage, more if we were shooting bursts. You can also gain around 9 percent more shots if you engage power-saving mode, but these aren't great figures for a camera you might want to use a lot.
As you'd expect, the camera can be charged over its USB-C socket, so there are ways to top the battery up fairly easily. However, it does not come with a battery charger in the box.
By Mitchell Clark
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From a certain angle, the Z50II is a minor update to its predecessor. It has the same sensor housed in a similar body and doesn't add anything revolutionary – there are no features that are unheard of for its category or that make us rethink what's possible with photography.
That's not a bad thing. The Z50II's main audience is first-time camera buyers, and when I think back to when I was getting into photography, the Z50II would've been exactly what I was looking for – something that gets the basics right without costing an arm and a leg.
I only got to spend a day shooting with the Z50II, but during that time nothing about it felt budget. The ergonomics and build quality felt just right for its size, and its performance was snappy; I never felt like I was waiting around for the camera or that it couldn't shoot fast enough to capture whatever I pointed it at.
The autofocus, in particular, was a standout. We've praised Nikon's 3D Tracking system and subject recognition before, and it's just as capable in the Z50II. In the past, the autofocus situation on beginner-focused cameras has been awkward: people who aren't experienced need the most help, but the most capable systems are also the most expensive ones, so they don't make it into lower-end cameras. That's not the case with the Z50II.
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The Z50II's autofocus system was confidence-inspiring, even in automatic subject detect mode. ISO 100 | 1/400 sec | F4 | Nikon Z 70-200mm f2.8 VR S w/ 1.4x teleconverter Photo: Mitchell Clark |
It even features automatic subject detection, giving you one less thing to think about when you're scrambling to get the shot. That'd be great for parents looking to get great shots of their kids playing sports – or pet owners looking to show off their fast-moving dogs and cats – without breaking the bank.
The video features are also robust, to the point where it feels like Nikon's targeting not just content creators but first-year film students, too. Beginner photographers who also want to capture video will be happy with its standard 4K capabilities, but they won't have any use for features like N-Log and waveforms.
Then there's the Picture Control button. I'm not entirely convinced color profiles are the thing to draw new people into photography, but camera manufacturers seem to disagree – this year we saw Panasonic debut its LUT button, and Fujifilm release two cameras with film simulation dials.
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Even if the crowds are craving color control, the indirectness of Nikon's system could make it a little tricky for beginners. You don't beam them directly from your phone to your camera; you select which ones you want in Nikon's app, and then your camera downloads them via Wi-Fi. My years in tech support tell me there will be some confusion based on the camera needing to be connected to the internet on its own.
The real elephant in the room is lenses. The company makes five 'DX' lenses for its APS-C systems: a single prime and four zooms with maximum apertures of 3.5 or higher. There are several third-party autofocus primes, including some of the very good Sigma DC DN Contemporaries, but if you want a zoom with a consistent or fast aperture, you'll have to use a heavier, more expensive full-frame option from Nikon.
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The rumored Nikon Z50 II camera is now officially announced and available for pre-order:
Nikon Z50 II camera officially announced: “superior AF performance on a par with that of the Z9”
Also announced today: SmallRig Expansion Kit for Nikon Z50II cameras
The post Nikon Z50 II camera officially announced appeared first on Photo Rumors.
The previously reported Hasselblad XCD 75mm f/3.4 P lens and X extension tube (9mm) are now officially announced:
The XCD 3,4/75P is the latest addition to the Hasselblad XCD Portable (P) lens series and the first standard lens in the lineup. With a 59mm full-frame equivalent focal length and the largest aperture in the XCD P series at f/3,4, the XCD 3,4/75P is designed for photographers who need powerful performance in a lightweight, agile form. Its exceptional optical quality and unique lightness make it ideal for capturing portraits, street scenes, and still life with effortless precision.
The XCD 3,4/75P boasts an optical structure of ten elements in ten groups, including one aspherical element and three ED elements, effectively suppressing chromatic dispersion. This sophisticated design contributes to its compact form and ensures a powerful optical performance that meets the demands of a 100-megapixel sensor. From the center to the edges of the frame, the lens delivers sharp, clear images with vibrant and lifelike colors. Its f/3,4 maximum aperture enhances detail capture in low-light portraits.
The XCD 3,4/75P has the longest focal length and the largest aperture in the XCD P series. It sits between standard and mid-telephoto lenses and is suitable for full-length and half-length portraits. The longer focal length, paired with its wide aperture, produces beautifully soft, natural bokeh to create stunning portrait images.
Weighing just 398g and measuring only 71mm in length, the XCD 3,4/75P is a compact, lightweight, and highly portable lens, making it an excellent choice for portrait and street photographers on the move. Its sleek metal body is accentuated by a signature "H" pattern around the focus ring, adding elegance and Hasselblad’s distinctive style to its lightweight design.
Engineered for fast, accurate, and responsive focusing, the XCD 3,4/75P utilizes a linear stepping motor and a lighter, smaller focusing lens group. The linear stepping motor provides more precise control over the focus, enhancing accuracy, while the smaller focusing lens group makes focusing faster. When paired with a Hasselblad X System or V System medium format digital cameras that support PDAF, users will enjoy a smooth, quiet, and flexible focusing experience.
The XCD 3,4/75P is equipped with a compact leaf shutter that operates with minimal vibration and noise, allowing users to shoot confidently in quiet environments. The leaf shutter offers speeds of up to 1/2000 second and full flash synchronization at all speeds, enabling photographers to capture high-speed subjects or use flash to creatively control light, even in bright sunlight, and achieve exceptional results.
The XCD 3,4/75P lens is priced at $2,229 USD / € 2529 EUR and is available to purchase online and at selected retail stores worldwide.
The Hasselblad X Extension Tube (9mm) will be launched simultaneously. It is designed specifically for the X System cameras, 907X cameras, and XCD series lenses. Extending the distance between the lens and the image sensor reduces the XCD lens's minimum focusing distance, enhancing the close-up capability and bringing intricate details within reach. The Hasselblad X Extension Tube is priced at $299 USD / €339 EUR and available to purchase online and at selected retail stores worldwide.
Hasselblad Expert Setup Guide now updated for the latest XCD 20-35mm f/3.2-4.5 E lens
IDSworks announced new modular base plate and L-bracket for Hasselblad X2D cameras
The post Hasselblad announced a new XCD 75mm f/3.4 P lens and X extension tube (9mm) appeared first on Photo Rumors.
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| Image: Hasselblad |
Hasselblad has officially announced its XCD 3,4/75P prime lens after teasing the new product on the company's X account earlier this week. It's part of the company's 'P' (for portable) series of more compact lenses. When used with Hasselblad's X, 907X and CFV 100C medium format digital cameras, the 75mm F3.4 lens provides a 59mm equivalent field of view.
Hasselblad suggests the lens should be suitable for a variety of applications, including portraiture with soft, natural bokeh or as a relatively fast, compact lens for street photography.
Optically, the XCD 3,4/75P comprises 10 elements in 10 groups, including one aspherical and three ED (Extra-low Dispersion) elements to help suppress chromatic aberration. It has a minimum focus distance of 55cm (21.6”) and a maximum magnification of 0.17x. It includes a 72mm front filter thread.
A linear stepping motor drives autofocus, and Hasselblad says the focusing lens group is designed to be small, allowing the lens to focus quickly.
The new lens is 75mm (2.9") in diameter, 76mm (2.9”) long and weighs 398g (14oz).
At 75mm, it becomes the longest lens in the P series, joining Hasselblad's existing XCD 4/28P (22mm equiv) and XCD 4/45P (35mm equiv) lenses. It's also considerably smaller and more than 60% lighter than Hasselblad's XCD 80mm F1.9, the lens with the most similar focal length in Hasselblad's current lens lineup.
Like other XCD lenses, the 3,4/75P includes a built-in leaf shutter, supporting shutter speeds up to 1/2000 sec, which makes it a stop slower than Hasselblad's latest XCD V series lenses (which top out at 1/4000 sec), but allows for flash synchronization at all shutter speeds. The leaf shutter design contrasts with lenses for Fujifilm's GFX medium format system, which rely on a focal plane shutter in the camera.
Alongside the new lens, Hasselblad has also announced the X Extension Tube (9mm), designed specifically for Hasselblad’s X system cameras, 907X cameras and XCD series of lenses. It extends the distance between the lens and the sensor to reduce the minimum focus distance and improve close-up photography.
The XCD 3,4/75P is expected to be available immediately for $2229 in the US or €2529 in Europe. The X Extension Tube (9mm) is priced at $299 or €339.
Press release:
The XCD 3,4/75P is the latest addition to the Hasselblad XCD Portable (P) lens series and the first standard lens in the lineup. With a 59mm full-frame equivalent focal length and the largest aperture in the XCD P series at f/3,4, the XCD 3,4/75P is designed for photographers who need powerful performance in a lightweight, agile form. Its exceptional optical quality and unique lightness make it ideal for capturing portraits, street scenes, and still life with effortless precision.
The XCD 3,4/75P boasts an optical structure of ten elements in ten groups, including one aspherical element and three ED elements, effectively suppressing chromatic dispersion. This sophisticated design contributes to its compact form and ensures a powerful optical performance that meets the demands of a 100-megapixel sensor. From the center to the edges of the frame, the lens delivers sharp, clear images with vibrant and lifelike colors. Its f/3,4 maximum aperture enhances detail capture in low-light portraits.
The XCD 3,4/75P has the longest focal length and the largest aperture in the XCD P series. It sits between standard and mid-telephoto lenses and is suitable for full-length and half-length portraits. The longer focal length, paired with its wide aperture, produces beautifully soft, natural bokeh to create stunning portrait images.
Weighing just 398g and measuring only 71mm in length, the XCD 3,4/75P is a compact, lightweight, and highly portable lens, making it an excellent choice for portrait and street photographers on the move. Its sleek metal body is accentuated by a signature "H" pattern around the focus ring, adding elegance and Hasselblad’s distinctive style to its lightweight design.
Engineered for fast, accurate, and responsive focusing, the XCD 3,4/75P utilizes a linear stepping motor and a lighter, smaller focusing lens group. The linear stepping motor provides more precise control over the focus, enhancing accuracy, while the smaller focusing lens group makes focusing faster. When paired with a Hasselblad X System or V System medium format digital cameras that support PDAF, users will enjoy a smooth, quiet, and flexible focusing experience.
The XCD 3,4/75P is equipped with a compact leaf shutter that operates with minimal vibration and noise, allowing users to shoot confidently in quiet environments. The leaf shutter offers speeds of up to 1/2000 second and full flash synchronization at all speeds, enabling photographers to capture high-speed subjects or use flash to creatively control light, even in bright sunlight, and achieve exceptional results.
The XCD 3,4/75P lens is priced at $2,229 USD / € 2529 EUR and is available to purchase online and at selected retail stores worldwide. For more information, visit www.hasselblad.com.
The Hasselblad X Extension Tube (9mm) will be launched simultaneously. It is designed specifically for the X System cameras, 907X cameras, and XCD series lenses. Extending the distance between the lens and the image sensor reduces the XCD lens's minimum focusing distance, enhancing the close-up capability and bringing intricate details within reach. The Hasselblad X Extension Tube is priced at $299 USD / €339 EUR and available to purchase online and at selected retail stores worldwide.
| Principal specifications | |
|---|---|
| Lens type | Prime lens |
| Max Format size | Medium Format (44x33mm) |
| Focal length | 75 mm |
| Image stabilization | No |
| Lens mount | Hasselblad X |
| Aperture | |
| Maximum aperture | F3.4 |
| Minimum aperture | F32 |
| Aperture ring | No |
| Optics | |
| Elements | 10 |
| Groups | 10 |
| Special elements / coatings | 2 aspherical element, 3 ED (Extra-low dispersion) elements |
| Focus | |
| Minimum focus | 0.55 m (21.65″) |
| Maximum magnification | 0.17× |
| Autofocus | Yes |
| Motor type | Stepper motor |
| Full time manual | Unknown |
| Focus method | Unit |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 398 g (0.88 lb) |
| Diameter | 75 mm (2.95″) |
| Length | 76 mm (2.99″) |
| Colour | Black |
| Filter thread | 72 mm |
| Hood supplied | Yes |
| Tripod collar | No |
Connexion