In Focus Focal point
The latest photography news from around the globe
Rounding up
1 SONY A7C what’s new
This new compact ƏȇƳژƺɴƬǣɎǣȇǕ
mirrorless packs a
24.2 full-frame sensor Donate your old photo
and a fully articulating books for a good cause
rear touchscreen. The Creative Corners
project is inviting people
2 FE 24-60mm to donate any unwanted
f/4-5.6 KIT LENS creative books to school
Purchase the A7C art departments in the
body only or with a UK. See its website for
new compact kit lens: further information.
the FE 24-60mm www.creativecorners.uk
f/4-5.6 is retractable.
3 TWO FINISHES
Silver-and-black
will be followed by
a limited-edition
all-black version.
Liam Wong’s TO:KY:OO
now in paperback
Fans of photography with
a videogame aesthetic
will find much to relish in
this new paperback. Liam
Wong’s neon-soaked
images form a nocturnal
exploration of Tokyo.
thamesandhudson.com;
£25/$35
New Sony compact
The A7C packs a full-frame sensor into an APS-C sized body
and targets prospective customers new to the Sony brand
ony’s new full-frame mirrorless camera The A7C’s rectangular ‘rangefinder’ design loses Polaroid produces
the viewfinder housing on the top and instead Star Wars edition
S follows on from the brand’s successful positions the EVF in the top-left corner on the back; This limited edition tie-in
A7-series models, but with a radical design a fully articulating vari-angle touchscreen is below. with Star Wars TV series
rethink. The Sony A7C can be thought of as a full- The Mandalorian
frame mirrorless camera housed in an APS-C body; Specification highlights include a a 24.2MP comprises a branded
the A7C is therefore nearer to the box-shaped look sensor with an ISO 100-51,200 sensitivity range. Polaroid Now camera
of the A6000-series models than to the familiar The A7C can shoot stills at up to 10fps with AF/AE, and i-Type colour film.
form factor of the A7 range. or 8fps in Sony’s Live View mode; the video spec is 12 film frame designs are
Sony hopes to attract a new audience of 4K capture at 30p. The A7C is bundled with a new, inspired by the TV series.
photographers, vloggers and content creators retracting kit lens, the FE 24-60mm f/4-5.6. uk.polaroid.com;
who want a fresher design and a camera that’s as www.sony.co.uk; £1,900/$1,800 (body only); £130/$120 (camera);
adept at shooting video as it is stills photography. £2,150/$2,100 (with FE 24-60mm kit lens) £17/$18 (i-Type film
pack with eight photos)
100 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Go to www.digitalcameraworld.com for the latest news, reviews & techniques In Focus
1 NEW FLAGSHIP …with VX heads
Rhino sits at the
top of the Benro New ball heads for Rhino tripods
tripod portfolio.
pecially designed to complement the
Benro releases Rhino…
S new Rhino tripods, the three VX ball
zƺɯ ǔǼƏǕɀǝǣȵ ȸƏȇǕƺ ǔȒȸ ƺɴɎƺȇɀǣɮƺ ȵȒȸɎǔȒǼǣȒ Ȓǔ ɎȸǣȵȒƳɀ heads have an emphasis on simplicity,
lightness and high performance. Each model
he latest line-up of tripods To create the smallest footprints features a dual panoramic function, where
when folded, all Rhino models the base of the head and the camera release
T from Benro launches with feature twisting leg locks, and the platform offer 360-degree pan movement.
four models, which come tripod legs close around the head The quick release platform and Arca-Swiss
in kits with new VX ball heads (see to create the shortest possible compatible QR plate have also been reworked
right). The new quartet utilises folded length. All models have the to minimise weight, and a safety catch will
braided carbon-fibre tubing to ability to mount accessory arms guard against accidental camera removal.
keep weights down and payloads via three 3/8in threads. The Rhino benroeu.com; bundled with Rhino tripod kits
high. The smallest model, Zero kits comprise Zero Series with
Series, weighs just 1.2kg but VX20 head; One Series with VX20
can support a camera and lens head; Two Series with VX25 head;
combination that weighs 10kg; the and Three Series with VX30 head.
largest, Three Series, reaches 1.7m benroeu.com; from £200/$300
fully extended and supports 20kg.
Need a webcam? New medium tele
Your Canon can… from Tamron
Turn over 40 Canon cameras into a webcam Lens line-up for Sony E-mount grows to eight
with this free software for Windows
he third-party lens maker has launched what it
ith supplies of webcams constrained during
T claims to be “the world’s smallest and lightest
W lockdown, camera manufacturers have stepped telephoto zoom lens”. Developed especially for
in to plug the gap in demand. Canon is the latest Sony’s E-mount, the 70-300mm f/4.5-6.3 Di III RXD is
brand to release native software that adds webcam compact and light, at just 148 x 77mm and 545g. Optical
functionality to its cameras. Use EOS Webcam Utility to construction comprises 15 elements in 10 groups, with
connect a compatible EOS or PowerShot model to your autofocus delivered via stepping motors. Helpfully, the
computer via USB, then configure the camera with your new lens also features the same 67mm filter diameter as
video conferencing software. The Windows version is the rest of Tamron’s full-frame mirrorless lens family, so
available now, with a macOS version to follow. you can easily swap attachments between your optics.
canon.co.uk; free tamron.eu; £650/$550
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 101
In Focus Go to www.digitalcameraworld.com for the latest news, reviews & techniques
Focal point
Rounding up
what’s new
ƏȇƳژƺɴƬǣɎǣȇǕ
Ranger DSLR Sling v2 Latest fast Nikon Z glass
launched by Hex
This updated version of New Z 14-24mm f/2.8 S and Z 50mm f/1.2 S see
the Ranger Sling can be renowned mirrorless system continue to mature
used as a camera bag
or a day bag, thanks to a he world’s number-two that offer superb rendering
fold-away bottom panel. performance. And the Z 50mm
The DSLR Sling V2 is T camera brand continues f/1.2 S – the first Z lens with an
made from water- to build out its Z-mount f/1.2 aperture – is high-end glass
resistant Cordura fabric. lens family. The two latest new that promises the ability to tease
hexbrand.co.uk; arrivals to its highly regarded out new levels of depth and detail
£105/$100 full-frame mirrorless system from the 50mm focal length –
are both high-spec fast lenses whether shooting stills or video.
Cooph releases that carry the ‘S’ designation. nikon.co.uk; £2,499/$2,397
Basic T-shirts The Z 14-24mm f/2.8 S is said to (Z 14-24mm f/2.8 S); £2,299/
Photographers who like rival the performance of a prime $2,097 (Z 50mm f/1.2)
to keep their look subtle lens, thanks to advanced optics
and minimal… these are
for you. The Basic T-shirt Micro ball heads
is available in a choice of from Novo
three colours, made from
100% Fair Trade organic Ideal for smaller mirrorless bodies
cotton, and there’s a tiny
Cooph logo on the hem ovo has released a pair of aluminium Irix Edge polariser
of the left-hand side.
https://store.cooph. N micro ball heads for use with smaller SR version offers performance bump
com; £30/$40 mirrorless or compact cameras. The
Novo MBH-20 weighs around 114g (126g with
Bridge the camera and its Arca-Swiss compatible plate attached) and
smartphone divide offers up to 5kg payload capacity. Its sibling
This Arca-Swiss the MBH-25 weighs around 160g (172g with
compatible quick-release plate attached) and has a 5kg payload.
tripod plate sits under www.novo-photo.com; from £49/$55
your DSLR or mirrorless
camera. Need to use ow available in SR (scratch-resistant)
your smartphone? Then
the Benro ArcaSmart 70 N designation, the Irix Edge 95mm circular
unhinges to become polariser filter offers improved durability,
a smartphone holder, while the SR’s thinner 4.3mm profile will improve
which can then slot the operation of the filter when used on ultra-wide
into your usual tripod. lenses. With a Nano coating for increased
benroeu.com; robustness, and the latest-generation anti-
£40/$60 reflective coatings, this new Irix filter has been
developed to give faithful colour reproduction,
plus excellent levels of contrast and sharpness.
irixlens.com; £99/$125
www.digitalcameraworld.com
ADVERTISING FEATURE
Brought to you by
mpb.com
Nikkor AF-S 70-200mm TELZEOPOHMOTO
f/2.8E FL ED VR
New price: £2,209
MPB price: £1,594 (excellent)
You’re definitely going to need a fast 70-200mm in your
arsenal as well! The longer reach means that you can
keep the action tight when players are at the other end
of the court or field, while having a portrait focal range
is perfect for capturing close-ups and headshots of
players and coaches, or even notable spectators.
Get a speedy sports While stabilisation isn’t as critical for the 24-70mm
photography setup
lens, thanks to the fast
Bag an entire array of used equipment,
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important for longer focal
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springing a little extra for
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The f/2.8 aperture
is invaluable, both for
maintaining high shutter
speeds without going
crazy on the ISO as well
as shallow depth of field.
hotography is a pricey endeavour. It doesn’t matter whether you’re taking Nikkor AF-S TC-17E II E S(SE(N
ٳTIzAL
P photos for your own pleasure, or you’re shooting a brief for a client – if you New price: £429
want the right tools for the job, it’s going to mean spending a chunk of
change. But this doesn’t mean breaking the bank, though! It doesn’t matter MPB price: £149 (good)
if you only need a lens or if you’re getting a whole camera setup – there are
many more options available, and for a much better price, if you look at used equipment. For some sports, even a 200mm lens isn’t
In fact, by buying used instead of new, you can often get
a a shooting setup that’s even better. enough to shoot coast-to-coast action. However,
We’re putting this to the test with MPB, the world’s largest
digital photography gear resale platform. Every month we’ll instead of forking out for a costly 300mm or 400mm
be putting together our dream setup for shooting specific
areas of photography for a fraction of the price of buying lens (and having to carry it around with you!), there’s
new. This month, it’s the turn of sports photography…
a much cheaper and simpler solution: a teleconverter.
SPPDORSORLTRS
That’s where the brilliant TC-17E II comes in.
This 1.7x teleconverter
Jon Sparkman pairs with the Nikon AF-S
70-200mm f/2.8E FL ED
VR lens to give you a huge
340mm focal length – which
is more than enough for
most of your needs when
you shoot sports! Using a
1.7x converter rather than
a 2x means you don’t lose
too many stops, either.
STZAONODMARD A medal-worthy
sports setup
Nikon D5 Nikkor AF-S 24-70mm f/2.8G IF-ED
For almost £5,000 less
New price: £5,999 New price: £1,899 than buying new, you
can get a flagship Nikon
MPB price: £3,299 (condition: excellent) MPB price: £679 (excellent) camera with a pair of
‘holy trinity’ zoom lenses – everything you
The D5 was Nikon’s flagship camera from 2016 to One of the so-called ‘trinity’ lenses, a 24-70mm need to take incredible sports images.
2020. While it was succeeded by the D6 earlier this f/2.8 is essential for shooting sports. The 24mm
year, the Nikon D5 may be a better buy than the new end is about as wide as you’ll need for most So whether you’re looking to pick up
camera! In terms of shooting specs, the two bodies cases; unless you’re shooting basketball, boxing an extra lens to complement your existing
are largely indivisible – but you can get a D5 in or MMA, you’ll rarely need to go that wide. system, or you want to build a whole shooting
excellent condition for almost half the price. setup from scratch, make sure to check the
The versatile focal range enables you to go quickly wealth of used options available from MPB
The D5 boasts a brilliant 20.8MP image sensor from medium to wide and keep the action perfectly to get great results and great savings.
(the same one that’s in the D6), with monstrous framed, and the fast aperture is crucial for enabling
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blistering 12fps shooting speeds with continuous AF. if you’re shooting indoors. MPB price: £5,721
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Find out more at: www.mpb.com
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 103
Behind Andy Howe
the lens
MARGOT RAGGETT Ben Cranke
Founder of Remembering
Wildlife, which has just
published its fifth book
he Remembering Wildlife that’s when I became the founder and crowdfunding platform Kickstarter. We
producer of the Remembering Wildlife were scheduled to do the same and go
T book series is now in its fifth series. I think that elephant was fate. live for Remembering Cheetahs around
year. Was there a particular the start of March – and I have to say,
event that moved you to Books titled ‘Remembering…’ I thought very seriously about whether
suggest that we’ve lost something, it was the right thing to do to go ahead
start the project? or that we’re about to do so. Is at that moment. But I knew also if
Covid-19 is an opportunity to reset we didn’t go ahead then, I probably
I started the series after humanity’s relationship with nature? wouldn’t be able to get a book published
I deliberately chose ‘Remembering...’ this year, so I took the plunge.
seeing a poached elephant in northern to be provocative to people, exactly for
that reason: I want them to realise what It was a risk and I held my breath
Kenya. It was such a shock, such we could lose if we don’t take action. when we launched but actually it went
tremendously. I was staggered we still
a horrific sight. I’d never really I think that it is going to be very hit our target on day one. It’s been
interesting to see how we emerge wonderful that we still have the support
understood the extent of poaching from the Covid situation. People have out there from people who really believe
certainly wanted to go back to nature in what we are doing and want us to
in Africa before then. I was moved for solace – we’ve seen that a lot. But keep publishing, no matter what
equally we are seeing more litter than else is happening in the world.
deeply and decided to take some ever, more plastic, and the amount of
masks that are going into the sea is just How much has Remembering Wildlife
action; I could not let the moment pass. horrific. So I think we’re at a real turning raised to date, and is it difficult
point for humanity, and I’m not honestly to choose which projects and
So I had the idea of maybe an sure which way it’s going to go. I feel initiatives to fund?
we have to fight to keep conservation To date we’ve now donated £634,000
exhibition or a book, a collaboration projects going, despite the immense since we launched Remembering
challenges we are facing. Elephants in 2016, and that’s gone
with lots of photographers if they’d to over 40 projects in 23 different
And how challenging was it trying countries across Africa and Asia. Every
agree to take part. So Remembering to secure funding for Remembering year we choose projects that are related
Cheetahs with an ongoing pandemic to the species of the new book that is
Elephants began, even though at the playing out? coming out, so that does help to narrow
We have funded each book using the the field of who we want to support.
time I thought it was a one-off.
Prior to Remembering Wildlife,
what was your background?
I worked in PR in the City of London
for 20 years, before leaving in 2010
because I was disillusioned with that
world. At that point I wasn’t quite sure
what I wanted to do, but I had a real
passion for wildlife photography.
So initially that’s what I started trying
to pursue a career in, spending a lot
of time in Kenya’s Maasai Mara in
particular. But seeing that poached
elephant was a turning point, and
104 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Vicki Jauron
I’m always looking at project there as well. Finally, our exhibition will Benoit Bussard
recommendations from people I trust be entirely online this year, meaning
and from photographers who donate for the first time ever people can view it
to our books. It is important to support and buy prints from all over the world.
projects that are effective in their aims,
so endorsement from those I trust is What will be the next book in the
essential. For instance, the Cheetah Remembering Wildlife series, and
Conservation Foundation (CCF) was how challenging will it be having
recommended to me by my mentors to work around travel restrictions?
Jonathan and Angela Scott, who are I never decide on what will come next
their patrons and have supported until I know the previous launch has
them for many years. gone well, so ask me again in a few
months! And whatever happens with
Will you be able to offer buyers of travel and quarantine, I am able to
Remembering Cheetahs anything get on with the project regardless,
special this year, given that it’s just as I produced Remembering
not a physical launch? Cheetahs from lockdown.
Using creativity, we’ve actually been
able to replicate much of what we do The only shame is that it prevents me
in our yearly live events. For example, from visiting projects, but I am patient
we are recreating a book signing by enough to wait for that. What I have
getting photographers to sign stickers learned is how much can be done from
and send them to me from all over home, so nothing will stop me – as long
the world. We have more than 50 as there is appetite enough out there
photographers who have done that, for the series to keep going!
and those signed books will be part
of the VIP tickets on sale for a Remembering
launch event on 15 October. Cheetahs is
out now, priced
We’re also going to have a silent £45/$65 from
auction site with some of our prints, buyremembering
a wonderful painting by the artist wildlife.com
Emily Lamb, a sculpture by Simon Max
Bannister, and a number of safaris on
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 105
Scanning ABOVE: Sony and Panasonic are both
ahead… offering full-frame mirrorless cameras
Jon Devo looks at how repackaging the that pack older tech into more compact
previous generation of technology is packages – clearing the way for the
paving the way to a brighter future next generation of mirrorless models.
Jon Devo particularly if you were interested in closest stablemate, the Lumix S1, in
portrait or landscape photography. But most areas and weighs 307g less.
instagram.com/gadgetsjon the success of full-frame mirrorless
cameras, initially pioneered by Sony, Even though these cameras fail
Jon is a professional photographer, has brought the price of that to offer anything new in terms of
videographer and technology journalist. technology down. The increasing performance, I’m excited by the
affordability of full-frame bodies is ingenuity of both Sony and Panasonic.
ver the past year, also partly due to Sony’s refusal to Both companies have crammed most
discontinue their cameras as new ones of the tech that made their previous
O camera brands have are released, crowding the market. flagships so capable into bodies
begun carving out a that are significantly smaller.
new segment of the This leads to situations like the one
we’re seeing now with the release of This is part of a cycle of
market for affordable the Alpha 7C. Touted as the world’s technological development that
smallest and lightest full-frame camera suggests the next set of top-tier
compact full-frame with in-body image stabilisation, the full-frame mirrorless cameras will be
A7C matches the Alpha 7 Mark III on a big leap forward. Now that we know
mirrorless cameras. Canon moved first almost every specification, and sits a full-frame camera with IBIS and fully
within the same price bracket. The two articulated screens can be done in a
in 2019 with the EOS RP, followed by cameras are built around the same compact body at a competitive price,
24.2-megapixel sensor, have the same what can fit into the next generation
the Nikon Z 5. Then Panasonic joined ISO sensitivity range, and record the of full-sized full-frame cameras? An
same maximum 4K 8-bit video quality. affordable medium-format sensor?
the fray with the Lumix S5, which was The only real departures come down 8K resolution video with cooling
to physical size and design. The A7C is and no time limits?
closely trailed by the Sony Alpha 7C. closer in size to Sony’s APS-C A6000
range, slipping easily into pockets. Just when I begin to think there’s
This trend for sub-£2,000 full- little room for improvement to be
The Panasonic Lumix S5 goes a step made, cameras like the Sony A7C and
frame cameras is a positive sign further. As the smallest Lumix full- the Lumix S5 come along. Full-frame,
frame camera, the S5 out-specs its mirrorless, in-body image stabilisation,
for camera lovers. Due to cost, full- cinematic 4K-video and high-frame-
rate shooting with continuous
frame was once the preserve of autofocus – all for under £2,000.
What a time to be alive!
the professional photographer –
“Camera brands
have begun
carving out a
new segment”
106 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
108 Panasonic Lumix S5 _ Feature- 112 Hasselblad 907X 50C _ An exciting KitZone
rich compact full-frame mirrorless step forward for modular cameras
New gear, buying tips and the world’s toughest tests
121 Sigma 100-400mm f/5-6.3 _ 124 Budget full-frame cameras _
Popular lens reworked for mirrorless Four Canons and Nikons face off
nother month, another than Hasselblad. While most of its cameras
A exciting time for new camera are out of the financial reach of serious
launches… the Panasonic
Lumix S5 adds a compact amateur and semi-pro photographers,
option to the Lumix S line-up
of full-frame mirrorless bodies, and it has the modular, medium-format 907X 50C is
borrowed some tech from its older sibling,
the S1. But has Panasonic done enough to an intriguing camera that sets new standards Plus
address the perception that this product
range is bigger and heavier than many of in design and innovation. We were only too 116 Olympus OM-D
its rivals, some of which offer snappier
autofocus? Find out over the page. pleased to field- and lab-test the 907X 50C; E-M10 Mark IV
At the other end of the market, camera
brands don’t come much more venerable our review starts on page 112. 120 Nikkor Z 70-200mm
Also in this issue, we rate the fourth f/2.8 VR S
version of the popular Olympus E-M10, and a 122 Canon RF 100-
trio of capable lenses for mirrorless camera 500mm f/4.5-7.1L
systems. Plus, we cast a critical eye over the 123 Rotolight Ultimate
output of Canon’s latest photo printer – we Vlogging Kit
think it was well worth the wait. Rod Lawton 132 Canon Pro-300
The awards bestowed by the Digital Camera lab… Ratings explained
Given to the top For products Given to products Best in class All products reviewed
product in a that receive five that offer superb Excellent in KitZone are tested
group test stars overall value for money Good independently by
So-so photographers with years
Poor of experience, using lab
and real-world testing
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 107
KitZone Mirrorless Panasonic Lumix S5
1 21
Amazingly, the S5 is
a full-frame camera
that’s as small as
Panasonic’s top Micro
Four Thirds models.
2
The 20-60mm
f/3.5-5.6 kit lens that
comes with the Lumix
S5 performs well in
terms of build and
image quality.
Panasonic Lumix S5
£1,799/$1,999 (body only)
Could this be the best sub-£2,000/$2,000 camera
on the market? It certainly makes a strong case
www.panasonic.co.uk
Specifications he Lumix S5 joins but they’re less common in the video
world. The benefit is that they can
Sensor: 24.2MP CMOS full-frame sensor T three existing Lumix gather more light, as they have about
Image processor: Venus Engine S models, and the 2.5 times the surface area of APS-C
Panasonic Lumix move sensors found in rival cameras like
AF points: 225-area DFD contrast AF to full-frame has been the APS-C king, the Fujifilm X-T4.
ISO range: 100 to 51,200 largely positive. The Lumix S-line of
cameras and lenses are capable of A larger surface area and a humble
Max image size: 6,000 x 4,000 capturing sumptuously attractive 24.2MP resolution mean the Lumix
Metering modes: 1728-zone multi-pattern sensing system, photos and videos. But two criticisms S5 has large pixels of approximately
in particular – autofocus and size – 5.93 microns. More light-gathering
centre-weighted, spot have been tough for Panasonic to capability improves noise handling at
Video: 4K/60p 10-Bit 4:2:0, FHD 180 fps S&Q mode shake. The Lumix S5 aims to tackle low light, but it also means the S5 has
both of those points and it smashes an impressive dynamic range, rated
Viewfinder: EVF, 2.36m dots at least one of them: size. to around 14 stops. The new Sony A7C
Memory card: SD/SDHC/SDXC (UHS-I), SD (UHS-II) Panasonic has packed some of matches this claim, but doesn’t match
the best tech inside the significantly the S5’s specs – and nor does any
LCD: 3-inch vari-angle touchscreen, 1.84m dots larger Lumix S1 and Lumix S1H into other full-frame camera at this price
Max burst: 7 fps (mechanical shutter), a camera body smaller than the Micro point. You’ll have to spend another
6K Photo Mode (18MP @ 30fps) Four Thirds champion, the Lumix GH5. £1,000/$1,000+ to invest in the
Connectivity: Wi-Fi, Bluetooth It’s nothing short of witchcraft. Sony A7S III for a genuine step up
Size: 133 x 97 x 82mm Larger full-frame sensors are the in performance for lowlight shooting
professional photographer’s standard, and general video specs.
Weight: 714g (body with card and battery)
108 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
3 Panasonic Lumix S5 Mirrorless
4
5 36
The 2.36m-dot EVF Dual SD card slots are
isn’t Panasonic’s included here: one
highest-resolution UHS-II compatible,
viewfinder, but it’s the other UHS-I.
sharp enough.
64 7
The Lumix S5 uses the
A fully articulated same L-mount lenses
screen, almost as other Lumix full-
identical to the one frame cameras.
sported by the Lumix
G100, takes the 8
place of the tilting
touchscreen on the The top plate doesn’t
S1 and the S1R. have the status panel
of the S1 and S1R,
8 5 but the controls are
well-spaced out.
The Lumix S5 doesn’t
feel cramped, with
room on the back for
an AF-On button and
a joystick controller.
7
In some ways the Lumix S5 is what The S5 also sees the addition of a Live ISO and will acquire further features
we’d hope from in a ‘Lumix GH6’, so View Composite Mode, which allows and functionality from the S1H
where does the release of this new you to see what you’re capturing towards the end of 2020.
camera leave the popular GH-line? in real time when you’re shooting
We will have to wait for Panasonic night scenes or astro photography, To our surprise, Panasonic has
to announce the next phase for for example. It does this by only managed to retain in-body image
any potential successor to the GH5. processing changes in the light stablisation in the Lumix S5. It’s
But at this price point and with a detected by the sensor. This makes rated at up to five stops of
full-frame sensor, the Lumix S5 producing winning shots of scenes
doesn’t leave much space below it. like fireworks or light painting Note how the car is sharp and the background has a pleasing
significantly easier, all in-camera. panning blur with a shutter speed of just 1/40 sec.
Key features
The Lumix S5 can capture a
The standout features of the S5 are maximum 4K/60p 10-Bit 4:2:0 video
related to the fact that it’s super- with a data rate of 200Mbps. If you
compact and comes in at a highly need greater colour depth, 4K/30p
competitive price. It offers Lumix 10-Bit 4:2:2 video is also available
colour and full-frame quality in internally. 10-bit video is limited to
a much smaller body. It also adds 30 minutes recording, but there’s no
RAW+JPEG capture to its sensor wait time to begin recording again.
shift-based 96MP high-resolution There’s no time limit on any of the
mode, which is a fantastic upgrade. other video recording modes.
Capturing fast subjects can be done The Lumix S5 also comes with all
with either 7fps mechanical shutter of the V-Log enhancement options
for about 30 frames (RAW+JPEG) that Lumix S1 owners had to shell
or using 6K Photo Mode, which can out around £150 extra for to get
record 30fps for up to 15 minutes the required ‘software key’. The S5
and allows you to grab 18MP stills also comes with anamorphic modes,
from the resulting footage. waveform monitoring, Dual Native
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 109
KitZone Mirrorless Panasonic Lumix S5
The S5’s 20-60mm kit lens is a really
interesting choice, offering a far wider
angle of view than regular kit lenses.
The flip-out vari-angle screen makes it easy to get down to ground level (or water level) for ultra-low angle shots. and timer shooting functions sit on
the left shoulder of the S5.
stabilisation and, depending on the few corners seem to have been cut
lens used, will implement Dual IS here to keep size and cost down. Another area of compromise is
for up to 6.5 stops of stabilisation Borrowing so many features from the S5’s electronic viewfinder. The
with compatible lenses. the S1H for the S5 renders the S1 5,760K-dot EVF of the S1 is one of our
redundant in many ways. The S5 favourite features on that camera, so
Lumix as a brand has been affected has almost all of the S1’s tricks and it feels like a significant step back to
by the perception that its DFD contrast more, at a significantly lower price. drop the S5’s resolution to 2,360K-
detection AF simply isn’t fast enough. dots. Even the G100 has a higher-
The S5 attempts to challenge this with Build and handling resolution EVF, at 3,680k dots. But
an updated AF system that benefits the S5’s EVF does offer both 60Hz
from smarter algorithms and improved There are slight cosmetic differences and 120Hz refresh rates, rendering
processing. At launch it outperforms from the other S-line cameras, the issue of lag imperceptible
the other S-series cameras, although including the removal of a display from at its highest setting.
a firmware update is being rolled out the top plate. Instead there’s a mode
to bring them up to the same speed. dial, with an S&Q mode added for easy As far as quality goes, the Lumix S5
access to specialised high- or low- is solid, well balanced and deceptively
Overall, the Lumix S5 is a curiosity. frame rate recording. Drive, bracketing compact. It’s easy to forget that you’re
Its feature list is extensive, and very getting full-frame quality out of such
a small body. It’s a little larger than
Rival cameras Sony’s full-frame bodies and physically
smaller than Canon’s EOS R6, despite
Canon EOS R 6 Nikon Z 6 Sony Alpha 7 III weighing a fraction more. But the S5
£2,499/$2,499 £1,549/$1,799 £1,749/$1,999 comprehensively addresses criticisms
The EOS R6 is a versatile The Nikon Z 6 has the The A7 III has the same of the Lumix S-bodies being too bulky.
camera that can shoot same resolution as the resolution as the S5. Its
pretty much anything, Lumix S5, but it can’t video specs lag behind, Performance
as long as you’re content match the Panasonic’s but its autofocus is
with fewer megapixels. video specifications. superior in movie mode. The S5’s autofocus system is
Reviewed: issue 234 Reviewed: issue 211 Reviewed: issue 203 noticeably improved over previous
S-series cameras, with super-quick
detection. When it comes to keeping
subjects consistently in focus in movie
mode, though, it still lags behind the
best autofocusing systems around.
Despite its compact size, the S5
offers five-axis sensor shift image
stabilisation. In use it works well
and enables you to shoot handheld
as slow as 1/6 sec. This is great for
night time or low-light shots when
you don’t have a tripod or stable
surface to compose your shots on.
The low-pass filter-free 24.2MP
CMOS sensor housed in the S5
captures stunning images with depth,
detail and rich tonality. Even shooting
JPEG only, there is some recoverable
data in the highlight and shadow
areas of the image to correct slight
110 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Panasonic Lumix S5 Mirrorless
Lab tests
Resolution (line widths/picture height)
50
40
30
20
10
0
100 200 400 800 1600 3200 6400 12800 25600
Panasonic S5 Canon EOS R6
Nikon Z 6 Sony Alpha 7 III
Despite their similar-resolution sensors, the S5 can’t
quite resolve the same amount of fine detail as the
Z 6 or the A7 III. This is likely due to the S5 producing
more moiré on the tight lines on our test chart.
Signal to noise ratio (decibels)
60
The Lumix S5 offers excellent dynamic range, enabling it to cope well with 50
the high contrast in this scene, and really natural-looking colours.
40
30
underexposure. If you shoot raw, of video at this price point. Only the 20
you’ll be even more delighted by the Sony A7S III beats its dynamic range in
sensor’s latitude. Shooting a high- this camera class. Shooting in V-Log, 10
contrast landscape scene, for the S5 is rated to deliver in excess of
example, you can afford to blow 14 stops, but in use we found it came 0
out the clouds a touch in favour of in closer to 12.5 stops of usable 100 200 400 800 1600 3200 6400 12800 25600
shadow detail and recover it all in post. dynamic range. This is still much
better than the Canon EOS R5. Panasonic S5 Canon EOS R6
It also handles noise brilliantly, Nikon Z 6 Sony Alpha 7 III
delivering usable images comfortably Then there’s the colour science.
up to 6,400 and perhaps a little Lumix colours are simply beautiful. Here the S5 excels, producing cleaner images than
beyond in certain circumstances. This The S5 renders scenes faithfully, with its rival cameras at all tested ISO sensitivities. Noise
is extremely good in situations where consistency and a pleasing fullness. is noticeably less evident – and this is with all noise
light is limited and you want to keep There’s none of the inexplicable reduction functions disabled.
your shutter speed high, such as colour shift towards green or magenta
wildlife at dusk and dawn, as well we’ve experienced with some Sony Dynamic range (EV)
as live performances. and Nikon cameras in this bracket.
The colour and dynamic range alone 14
Borrowing many features and are good reasons to choose the S5.
functionality from the Lumix S1H, the Jon Devo 12
S5 is a tough camera to beat in terms
10
8
6
4
2
0
100 200 400 800 1600 3200 6400 12800 25600
Panasonic S5 Canon EOS R6
Nikon Z 6 Sony Alpha 7 III
The S5’s dynamic range is remarkably consistent
throughout the tested range, Though it’s not
class-leading at lower sensitivities, it comes
out on top at the upper end of the scale.
Digital Camera verdict
4.5 Outstanding
5.0 5.0 4.0 5.0
Features Build & Performance Value
handling
Panasonic’s DFD (depth from defocus) contrast-based autofocus system proves Despite its compact size, the Lumix S5 shares the
to be fast and efficient for stills, but still lags slightly if you’re shooting video. impressive 24MP CMOS sensor housed in the Lumix
S1, but with improved AF. It also delivers up to 6.5
stops of image stabilisation with compatible lenses.
As a result, it’s tough to beat in this category.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 111
KitZone Medium-format Hasselblad 907X 50C
1
You’re used to the
2 shutter release being
on top of the camera?
This is a Hasselblad.
2
1
The 907X uses the
same lenses as the X1D
II, but other lenses can
be fitted via adapters.
Hasselblad 907X 50C
£5,990/$6,400
A giant step forward for the design of
medium-format digital cameras
www.hasselblad.com
Specifications he Hasselblad 907X is so-called ‘full-frame’ digital medium-
format. The H6D-100C costs around
Sensor: 50MP medium-format T 50C achieves two $33,000, body only.
CMOS sensor, 43.8x32.9mm remarkable things. It’s
an affordable entry Now we have the 907X, a smaller
Image processor: Not quoted point to Hasselblad’s camera with a smaller 50MP sensor.
AF points: 117-point contrast AF modular medium-format system, It’s still medium-format, 67% larger
and it also resurrects the classic in area than full-frame. Think of it as
ISO range: 100-25,600 Hasselblad 500 film camera range, having the same relationship to ‘true’
Metering modes: Spot, at a price that makes bringing these full-frame medium-format as APS-C
centre-weighted, centre spot cameras out of retirement a feasible sensors have to full-frame.
Video: 2.7K (2,720 x 1,530) up to 30p proposition – especially as many
Viewfinder: None (optional extra) are still working today. This is still a big sensor. More to the
Memory card: Two SD/SDHC/SDXC (UHS-II) Hasselblad’s modular medium- point, the fact that it’s not ‘full-frame’
LCD: 32-inch tilting touchscreen, 2.36m dots format cameras now come in two medium-format makes it massively
types. You have the big, bulky and more affordable. It’s still a little more
Connectivity: Wi-Fi expensive H6, the latest in the than the best full-frame cameras,
Size: 102 x 93 x 84mm Hasselblad H series of digital SLRs. but one fifth the price of the H6D.
Weight: 740g (907X + CFV II 50C), This is sold with a 100MP digital back,
excluding battery and memory card with a sensor roughly the size of old We presume the 907X 50C uses
medium-format 645 (6 x 4.5cm) film, the same sensor as the Hasselblad
once you allow for a few millimetres’ X1D II 50C, and it certainly uses
rebate around the film area. This the same XCD lenses – it can also
use all HC/HCD, V System and
XPan lenses via adapters.
112 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
3 4 Hasselblad 907X 50C Medium-format
6
3 6
7
Most of the bulk of The 50C rear screen
the ‘camera’ is the tilts up with a nice
detachable CFV II firm action, and
50C digital back, Hasselblad’s button/
which you can replace screen interface is a
with other units. minimal masterpiece.
5 47
You can slide this You slide this panel
catch to detach back to access the
the back and fit it memory card – it
straight on to an is a little easy to
old Hasselblad slide accidentally,
500 C/M body! unfortunately.
5 8
The 907X itself is Hasselblad’s XCD
barely 1cm thick, and lenses aren’t cheap,
acts as the interface but the image quality
between the digital of all those we’ve
back and the lenses. tried is superb.
8
While the sensor and lenses might be as a kind of glorified lens adapter, It’s easy enough to hold, but without
the same, this is an utterly different a physical interface between the a conventional grip you wouldn’t want
camera design. The X1D 50C II is a lenses and the detachable CFV II 50C to carry it around one-handed without
regular mirrorless camera with the back. It weighs just 200g. It does, the extra security of a strap.
sensor and viewfinder integrated into however, house a tripod socket.
the body, whereas the 907X 50C is The shutter release is on the front,
a modular system, comprising the It will be interesting to see how below and to the right of the
907X camera body and the CFV II 50C Hasselblad develops this product line,
digital back. They’re sold together, and whether there will be new backs With the Phocus app you can move away to distract your
but can be used separately. in the future. At the moment, the subject from the camera – handy with pet portraits.
interchangeability mostly benefits
You can attach the CVF II 50C back Hasselblad’s 500 film cameras.
directly to a Hasselblad 500 C or M
film camera, without adapters. If we This CVF II 50C back might look
ever wondered what the point was familiar: it’s a close relative of the
of a modular camera system, 50MP back for the Hasselblad H6
we just found out. series. It is, however, a ‘refreshed’
version that now has a tilting
If you just want a medium- format mechanism, touch control and
mirrorless camera, get the Hasselblad improved Live View with a 60fps
X1D II 50C (or a Fujifilm GFX 50 R or refresh rate and a focus peaking
50S). If you want a modular medium- option. It also has an integrated
format camera that can interface with battery slot. Hasselblad says the
other Hasselblad equipment, old and CFV II 50C has “outstanding” colour
new, get the 907X 50C. depth and 14 stops of dynamic range.
Key features Build and handling
The 907X, as we’ve said, comes in two Let’s get the obvious things out of the
parts. You might say the 907X is the way first. The 907X 50C can be used
‘body’, but really you could look at it handheld, but it’s not in its element.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 113
KitZone Medium-format Hasselblad 907X 50C
The modular system includes an optional
clip-on optical viewfinder and an add-on
grip for easier handheld/outdoor shooting.
In bright light, the rear screen can be quite hard to see clearly, especially the active AF point. Also, while you’re grabbing the
907X out of your camera bag,
lens. It sounds odd, but in fact it’s then the screen isn’t an issue. You it’s a little too easy to slide open
a great position given the camera’s can shade the screen to see where the battery/memory card cover.
shape, and is in exactly the same the focus point is before you shoot – It could benefit from a stiffer action
place as Hasselblad’s classic or use the Phocus mobile app or an additional release clip.
500-series V cameras. to shoot remotely.
But there is a lot of good news,
The shape is OK for handheld The other thing that works against too. The build quality, materials and
photography, but a couple of other handheld shooting is the laboured mechanisms are pure Hasselblad,
things work against off-tripod use. contrast autofocus. It’s effective, but right down to the black leatherette
The tilting rear screen is super-sharp it’s not quick and it’s not quiet. We can finish and the chrome edging. The
and clear indoors, but easily swamped live with it well enough on the X1D II digital back clicks on and off as easily
by bright light and glare outdoors. As 50C, because the electronic viewfinder as the film backs on old V-series
a result, you might want to think makes focus confirmation easy – but cameras – the lugs are in the same
about the optional 907X optical when you can’t easily see in bright light place, the catch clicks into place in
viewfinder, sold separately. where the AF point is or when focus the same way, and the dimensions of
is confirmed, it makes quick street- the meeting surfaces are the same.
If the camera is on a tripod and style shooting with the 907X tricky.
you’ve got the time to work carefully, The interface is entirely digital,
but executed really well. It relies on
Rival cameras good-sized, properly spaced icons
whose meaning is immediately
obvious, and big pop-up scrolling
menus for making settings changes
to shutter speed, lens aperture,
ISO and so on. If ever you’ve been
frustrated by cameras with tiny text
and complex menu systems, here is
a glimpse of how it should be done.
And while the flip-up screen doesn’t
do so well in harsh sunlight, its
physical engineering is fabulous.
It has two ‘soft’ detentes, one at
45 degrees and one at 90 degrees,
and both are firm enough that you
can tap on the screen without
pushing it back down accidentally.
Fujifilm GFX 50R Hasselblad X1D II 50C Sony Alpha 7R IV Performance
£3,199/$3,499 £5,399/$5,750 £3,499/$3,498
The GFX 50R is still the If you want a ‘regular’ It has more megapixels We won’t dwell on the autofocus
cheapest entry point camera for handheld than the Hasselblad, performance, which we’ve already
into medium-format use, the X1D II 50C but a smaller sensor. talked about. It’s not quick and it’s not
photography – it’s is a better bet than The Sony’s images don’t quiet, although with the touchscreen
already a classic. the modular 907X. have quite the same feel. AF point selection you can pick an
Reviewed: issue 212 Reviewed: issue 189 Reviewed: issue 223 AF point pretty well anywhere.
This also works with the Phocus
Mobile app, which requires the usual
Wi-Fi registration rigmarole when you
first connect it, but works really well
114 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Hasselblad 907X 50C Medium-format
Lab tests
Resolution (line widths/picture height)
50
40
30
20
10
0 200 400 800 1600 3200 6400 12800 25600
100 Hasselblad 907X 50C ,#"/$%
Hasselblad X1D II 50C Sony Alpha 7R IV
At lower sensitivities, the 907X resolves pretty much
the same amount of detail as the X1D II 50C. Once you
pass ISO 1,600, a huge gulf opens up, with the older
X1D II 50C able to resolve significantly more detail.
Signal to noise ratio (decibels)
60
The larger medium-format sensor brings longer focal lengths, and hence a shallower 50
depth of field than you’d expect with similar settings on a full-frame camera.
40
30
after that. You can use a phone, but We tested the 907X with the XCD 20
it’s even better on an iPad Pro, where 45mm f/3.5 lens (36mm equivalent),
it feels halfway towards a tethered which offers impressive edge-to-edge 10
shooting experience, with a good deal visual sharpness and admirably low
of control over the camera settings. levels of fringing and distortion. 0 200 400 800 1600 3200 6400 12800 25600
Hasselblad’s XCD lenses might be 100 Hasselblad 907X 50C ,#"/$%
Our sample images accompanying expensive in regular camera terms, Hasselblad X1D II 50C '&. $(!
this review show all the colour fidelity, but they are also extremely good.
dynamic range and sharpness we The medium-format market will not This test helps explain the 907X’s poor resolution
admire in the X1D II 50C. Are the tolerate indifferent lenses in the way scores at higher ISOs, as it proves that images
images better than those of a full- that the consumer market often does. are noisier throughout the sensitivity scale
frame camera with the same than those from the X1D II 50C.
resolution? We don’t think you’ll see Once again, though, you have to
much difference in detail rendition, be careful with this combination if you Dynamic range (EV)
but the raw files from the 907X have are going to shoot handheld. There
an impressive tonal range and seem to is no image stabilisation in either the 14
respond well to shadow and highlight body or the lenses, and any camera 12
recovery with high-contrast scenes. movement or focus error will detract 10
They also have an indefinable ‘clarity’ from the crystalline clarity this camera
that seems a property of big sensors. is capable of. Rod Lawton 8
6
4 200 400 800 1600 3200 6400 12800 25600
2 Hasselblad 907X 50C ,#"/$%
0 Hasselblad X1D II 50C '&. $(!
100
Here the 907X performs much better, equalling the
GFX 50R up to ISO 3,200, and slightly outdoing the
X1D II 50C. Beyond ISO 3,200 the 50R is able to
capture around one stop more dynamic range.
Digital Camera verdict
5.0 A best-in-class product
4.0 5.0 5.0 5.0
Features Build & Performance Value
handling
The Hasselblad’s 16-bit raw files respond superbly to editing, especially shadow and By regular camera standards, the 907X 50C is pretty
highlight recovery, making monochrome conversions something you’ll want to try. slow and awkward. But it’s not designed to compete
with regular cameras. This is a professional tool that
is part of a hugely flexible modular system – at a
fraction of the cost these systems usually entail.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 115
KitZone Mirrorless Olympus OM-D E-M10 Mark IV
1
The E-M10 Mark IV uses
1 a plastic body, which
isn’t as robust as a
metal one but is very
2 light to carry around.
2
The most welcome
change from the E-M10
Mark III is the 20MP
image sensor – a big
step up from the
previous 16MP.
Olympus OM-D
E-M10 Mark IV
£799/$799
It’s light, portable and powerful – but does
this MFT model tick all of our boxes?
www.olympus.co.uk
Specifications lympus may have its 16MP sensor was a little
disappointing. There were also
Sensor: 20.3MP 4/3in Live MOS sensor O grabbed the headlines concerns over how well the
Image processor: TruePic VIII recently with its shock camera handled moving subjects
sale, but the launch of with its Continuous AF.
AF points: 121-point Contrast Detection AF system the OM-D E-M10 Mark IV
ISO range: Low (approx 80)-25,600 shows that it’s very much business as However, with an updated
usual for the imaging company. With 20MP sensor and the promise
Metering modes: ESP light metering, spot metering, some interesting improvements made of improvements made to the
centre-weighted metering, highlight, shadow on the Mark IV’s predecessor, this Continuous AF focusing, could
Video: 4K at 30p, 25p, 24p, camera looks set to make Olympus the E-M10 Mark IV be the perfect
Full HD at 60p, 50p, IPB (F,N) enthusiasts very happy. camera for anyone looking for
Viewfinder: EVF, 2,360K dots We had great affection for the E-M10 something compact, yet powerful?
Memory card: SD/SDHC/SDXC (UHS-II) Mark III: it’s a fantastic little camera,
LCD: 3-inch tiltable touchscreen, 1,037K dots with plenty of useful features to crow Key features
Max burst: 8.7fps high, 5fps low about. Thanks to its compact body,
Connectivity: Wi-Fi, Bluetooth five-axis image stabilisation and 4K One of the key new features for the
Size: 122 x 84 x 49mm video capability, it has sat squarely E-M10 Mark IV is the welcome addition
Weight: 383g (body only, including at the top of our best travel cameras of a 20MP Live MOS sensor, which is a
battery and memory card) guide for quite some time. boost from the previous generation’s
However, the Mk III wasn’t without 16MP sensor. This brings the E-M10
its foibles. Released at a time when series in line with the latest versions
24MP APS-C sensors were standard, of the E-M5 and the E-M1, which are
both also using 20MP sensors.
116 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Olympus OM-D E-M10 Mark IV Mirrorless
3 36
6
The electronic You can push the
viewfinder resolution power switch a little
is 2,360k dots, further round when
offering a pleasing you want to pop up
amount of detail. the built-in flash –
a neat design trick.
4
The rear screen 7
4 5 tilts, making it easy Shooting modes
to shoot off a tripod include Art Filters
or position yourself and Advanced Photo,
at a tight angle. giving you access to
dedicated panorama
5 and HDR modes.
The rear button 8
controls are neatly
laid out, making it Two additional top
easy to save their dials enable you to
positions into your control settings like
7 muscle memory aperture and exposure
for quick access. compensation.
8
The Mark IV also features a compact vlogging. Meanwhile, as you would The five-axis image stabilisation featured on the Olympus
in-body image stabilisation unit with expect in a camera like the Mark IV, OM-D E-M10 Mark IV enabled us to capture a sharp close-up
up to 4.5 EV steps of compensation there is Wi-Fi and Bluetooth built shot of this tiny butterfly, even while shooting handheld.
and 15 fps high-speed sequential into the camera body as well.
shooting. There’s also improved While there’s some room for improvement, the dynamic range
Continuous AF precision for Build and handling on the E-M10 Mark IV is fairly impressive for a Micro Four
continuous focusing on moving Thirds camera – it copes well with the contrast in this scene.
subjects. Meanwhile, the Face Just like its predecessor, the E-M10
Priority/Eye Priority AF is now able Mark IV is incredibly light and
to focus on faces in profile or looking compact. Olympus has managed to
down, which should help ensure that shave 27g off the Mark IV, making it
you can capture sharp portraits even more portable. The trade-off with
even at unconventional angles. a light camera tends to come down to
the body material used to construct
The E-M10 Mark IV also has a variety it. The Mark IV is made out of plastic,
of shooting modes, including Auto, compared to the metal body of more
SCN (Scene), AP (Advanced Photo) expensive cameras, such as the
and Art Filter. The AP mode brings OM-D E-M1 Mark III.
challenging shooting techniques to a
beginner’s level, such as panoramas, Externally, the E-M10 Mark IV looks
HDR and more. Meanwhile, the Art very similar to the previous Mark III
Filter mode includes a variety of filters version, retaining the same vintage
that, while not particularly useful for styling and ergonomic dials. Speaking
more serious shooting situations, of the camera controls – the power
are great fun for families and switch is easy to find, even when you’re
friends to play around with. not looking directly at the camera. It
slides to each position easily, with just
The Mark IV retains the 4K video the right amount of resistance. In a
capabilities of the Mark III, but has clever design quirk, you can slide the
the added advantage of a tilting LCD power switch past the On position
monitor that can flip down 180º for so that it’s facing forwards, in order
self-facing video shooting and to pop the flash up.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 117
KitZone Mirrorless Olympus OM-D E-M10 Mark IV
Like many Olympus OM-D cameras, the body
finish of the E-M10 Mark IV is available in a
choice of two colours: silver or black.
Not only was the E-M10 Mark IV’s Continuous AF mode able to keep up with our model as she jumped The autofocus was fast, responsive
in the air, but the rapid burst mode enabled us to capture the perfect moment as she did so. and mostly able to keep up with our
model as she jumped into the air. The
Meanwhile, the right side of the top of dial providing just enough resistance only time the focus began to slip was
the camera has three dials. The first to prevent it from being knocked when the model came within a metre
is a conventional mode dial, which onto another setting by accident. of the camera. However, the amount
enables you to select which shooting of times that you’d realistically be
mode you want to work in, including Performance using Continuous AF on a subject
Manual, Aperture Priority, Shutter within a couple of metres of your
Priority, Auto, Video and more. The One of the main aspects of the E-M10 position is likely pretty low.
other two dials can be used to select Mark IV we wanted to test was how
settings such as aperture, shutter well the Continuous AF worked. With The 15fps sequential shooting mode
speed and exposure compensation. many reviews reporting that the Mark felt nice and speedy, which was handy
III has trouble retaining focus on while we were capturing fast-moving
Thanks to some well-judged design, moving objects, and the promise of subjects. The Silent version of the
each dial is large enough to be easily an improved C-AF performance in the Sequential High-Burst mode also
found without looking, but compact Mark IV, we were curious to see just felt appropriately responsive – and
enough that it fits in nicely with the how much difference there would be. was particularly useful when we were
aesthetic. Adjusting the settings photographing the local wildlife.
is pleasantly smooth, with each Fortunately, we were pretty happy
with how the camera performed. We were also pleased to reap the
benefits of the new 20MP Live MOS
Rival cameras sensor – which is a welcome upgrade
from the Mark III’s 16MP sensor.
Fujifilm X-T200 Olympus E-M10 Mk III Sony Alpha 6100 While a Micro Four Thirds sensor
£749/$699 £549/$649 £679/$748 is never going to deliver the sheer
The X-T200 ups the The Mk IV’s predecessor A good choice for image quality that a full-frame camera
stakes with a big, has 4K video and an vloggers and anyone can, it was perfectly serviceable
vari-angle touchscreen, excellent in-body else wanting to jump up for capturing full-body and close-up
compelling 4K video and stabilisation system, from a point-and-shoot. portraits. The Eye AF system
improved autofocus. but iffy Continuous AF. Reviewed: bit.ly/ worked well, with the camera
Reviewed: issue 233 Reviewed: issue 196 dca6100 automatically finding the subject’s
eyes without any trouble.
We were only able to test the Mark
IV with the 14-42mm f/3.5-5.6 EZ
lens, which, while very capable,
doesn’t have a particularly wide
maximum aperture. However, the
Mark IV features in-body five-axis
image stabilisation with up to 4.5 EV
steps of compensation (which is a
slight improvement on the Mark III’s 4
EV steps); this meant that even images
shot in low light with a slower shutter
speed still came out sharp.
The five-axis image stabilisation was
even more impressive when we tried
out the Mark IV’s video functionality,
providing smooth footage when
walking with the camera handheld.
118 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Olympus OM-D E-M10 Mark IV Mirrorless
Lab tests
Resolution (line widths/picture height)
50
40
30
20
10
0 200 400 800 1600 3200 6400 12800 25600
100
Olympus E-M10 Mk IV ,"!/$%
Olympus E-M10 Mk III Sony A6100
The E-M10 IV’s 20.3MP sensor can equal the 24MP
Fujifilm X-T200 for detail capture at lower sensitivities.
But this MFT sensor can’t match the image clarity
from the Fujifilm and Sony cameras at higher ISOs.
Signal to noise ratio (decibels)
60
The Olympus OM-D E-M10 Mark IV is a truly flexible camera, able to shoot anything 50
that takes your fancy, from close-up portraits to landscapes.
40
30
The E-M10 Mark IV is the first camera If we had any criticisms, it would be 20
in the OM-D series to feature a flip- that we’d love to see a mic port to go
down LCD monitor, which makes along with the 4K video capabilities 10
capturing self-facing vlogging and flip-down screen. However, this
footage super simple. This screen is would likely see the E-M10 Mark IV 0 200 400 800 1600 3200 6400 12800 25600
also particularly helpful when you’re start to step on the toes of the OM-D 100
taking high- or low-angle photos. E-M5 line, so we can understand
why Olympus didn’t include this Olympus E-M10 Mk IV ,"!/$%
The OM-D E-M10 Mark IV is a on its entry-level camera. Olympus E-M10 Mk III Sony A6100
fantastic little camera with plenty to
offer. With a new 20MP sensor and Whether you’re a smartphone An increase in megapixel count has the potential to
improved Continuous Autofocus, the enthusiast looking to make the jump to increase image noise, as smaller pixels are usually
Mark IV boasts some useful upgrades a ‘proper’ camera, you want to capture less light-sensitive. However, Olympus has mostly
over its predecessor, the Mark III. high quality family snaps, or you’re managed to avoid this pitfall in the Mark IV.
While the other improvements are simply searching for a light camera to
admittedly incremental, we’re still take with you on your travels, the Dynamic range (EV)
impressed with what the Mark IV Mark IV could be the perfect camera.
brings to the table. Louise Carey 14
12
10 200 400 800 1600 3200 6400 12800 25600
8
6
4
2
0
100
Olympus E-M10 Mk IV ,"!/$%
Olympus E-M10 Mk III Sony A6100
O-MD cameras have traditionally been strong for
dynamic range, and the new E-M10 IV is no exception.
While the old Mark III scores slightly better at lower
sensitivities, things are reversed from ISO 6,400.
Digital Camera verdict
5.0 A best-in-class product
5.0 4.0 5.0 5.0
Features Build & Performance Value
handling
The updated Face Priority/Eye Priority AF system means that the E-M10 Mark IV will With a 20MP sensor, improved in-body image
be able to find your subject’s eye and lock in on it, even if they’re in profile. stabilisation and a flip-down and tiltable screen, the
E-M10 Mark IV has plenty of new features to shout
about, while retaining the 4K video and attractive
styling that made the Mark III so appealing.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 119
KitZone Zoom lens Nikkor Z 70-200mm f/2.8 VR S Specifications
2 Mount: Nikon Z
Lens construction: 21 elements in 18 groups
1
3 Angle of view: 34-12 degrees
Diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 0.5-1.0m
Maximum magnification ratio: 0.2x
Filter size: 77mm
Dimensions: 89 x 220mm
Weight: 1,360g (1,440g with tripod mount)
Centre sharpness
Nikkor Z 70-200mm 3,000
f/2.8 VR S 2,500
2,000
£2,399/$2,599 1,500
1,000
Probably the best 70-200mm zoom in the world 500
www.nikon.co.uk 0 f/4 f/5.6 f/8 f/11 f/16 f/22
f/2.8 200mm
70mm 100mm 135mm
ersatility is the watchword of the 70-200mm lens: 1 Sharpness
V it’s great for everything from action sports and There are a series of Levels of sharpness are absolutely stellar throughout
wildlife photography to weddings, events and more L-Fn (Lens Function) most of the zoom range, even when you shoot at f/2.8.
besides. Nikon has made some superb examples buttons to which you Extreme corner-sharpness drops away a bit towards
of the breed over the years – but the latest S-line can assign 21 different the long end, but is still highly impressive.
lens for Z-mount mirrorless cameras is the best yet. functions – typically
There’s certainly no shortage of high-tech glass packed into AF-On or AF-Hold. Fringing Short 0.64 Long 0.78
the Z 70-200mm. 21 elements are arranged in 18 groups
and include two aspherical elements, no fewer than six 2 Chromatic aberrations are essentially a non-issue
ED (Extra-low Dispersion) elements, a fluorite element for this lens, at all combinations of focal length
and an SR (Short-wavelength Refractive) element. Built into the lens and aperture setting.
High-speed autofocus is a basic requirement nowadays but this barrel, an OLED display
lens pulls out all the stops, featuring two separate, synchronised gives a direct view of Distortion Short -0.09 Long 0.05
drive units, both based on stepping motors. As well as ensuring various parameters,
spectacular speed and highly consistent accuracy, the including the exact Helped by automatic in-camera corrections, the Z
autofocus system is virtually silent. focal length, aperture, 70-200mm effectively performs as a ‘zero distortion’
Handling feels entirely natural and intuitive. The mechanical zoom ISO or focus distance. lens throughout its entire zoom range.
ring and electronically-coupled focus ring both operate with smooth You can cycle through
precision and, unlike Canon’s competing 70-200mm f/2.8 lens for the various options Verdict
its mirrorless EOS R-series cameras, the physical length remains simply by pressing the
fixed throughout the zoom range. adjacent DISP button. 5.0 A best-in-class product
Performance 3 5.0 5.0 5.0 4.0
Living up to its promise, the lens delivers spectacular performance You can use this ring Features Build & Performance Value
in every respect. The autofocus system is super-fast and unerringly to control parameters handling
accurate, while VR proved itself with five-stop effectiveness in our like ISO and exposure
tests, right out to the longest focal length. compensation; it’s There’s no denying this is an expensive lens. We’ve
particularly useful been hugely impressed by Sigma’s 70-200mm
Throughout most of the zoom range, levels of sharpness are for applying stepless f/2.8 DG OS HSM Sports lens for Nikon DSLRs in
absolutely stunning, right across the frame and into the extreme aperture control while the past, which costs little more than half the price.
corners, even shooting wide-open at f/2.8. The only noticeable shooting movies. Even so, Nikon’s telephoto zoom for mirrorless
drop-off is in the 150-200mm sector of the zoom range, where cameras sets new standards for image quality
corner-sharpness becomes ‘merely’ excellent. Matthew Richards and all-round performance. It’s a fabulous
lens that’s destined to become a classic.
120 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Sigma 100-400mm f/5-6.3 DG DN Zoom lens
Specifications
Mounts: Sony E, L-Mount
Full frame: Yes
Autofocus: Yes
Image stabilisation: Yes
Lens construction: 22 elements in 16 groups
Angle of view: 24-6 degrees
Diaphragm blades: 9
Minimum aperture: f/22-29
Minimum focusing distance: 1.12-1.6m
1 Maximum magnification ratio: 0.25x
3 Filter size: 67mm
Dimensions: 86 x 199/197mm (E/L)
2 Weight: 1,140/1,135g (E/L
Sigma 100-400mm Centre sharpness
f/5-6.3 DG DN OS | C
3,000
2,500
£899/$949 2,000
1,500
Reinvented optic for Sony E and Leica L-mount 1,000
www.sigma-imaging-uk.com 500
0 f/22
f/5 f/5.6 f/6.3 f/8 f/11 f/16
elephoto zooms with a range of around 80-400mm 1 100mm 200mm 300mm 400mm
T or 100-400mm tend to be quite large and heavy. You can either zoom Sharpness
Canon and Nikon’s current offerings for their DSLR with the forward-
cameras weigh in at 1,640g and 1,570g respectively, mounted zoom ring, Sharpness is very impressive at all focal lengths.
and they’re both pricey to boot. or simply push the Crucially for a relatively ‘slow-aperture’ zoom,
In 2017, Sigma launched its ‘light bazooka’ 100-400mm, which front section of the sharpness is very good when you shoot wide-open.
is only about two thirds of the weight and less than half the price. lens forward.
(We gave it a 4.5 rating in issue 230’s Group Test.) Sigma has Fringing Short 0.14 Long 0.36
now brought out a similar lens for mirrorless cameras, available 2
in Sony E and Leica L mount options. Tipping the scales at 1,140g Colour fringing is negligible, even at the extreme edges
(Sony) or 1,135g (L-mount), it keeps the weight off but boasts We criticised the older and corners. This holds true throughout the entire
a redesigned optical path and a new autofocus system. DSLR version of the zoom range and at all available apertures.
The stepping motor-based AF is fast and virtually silent, aided lens for not having
by an electronically coupled manual focus ring that operates an optional tripod Distortion Short 1.04 Long 2.31
with excellent precision. As well as an AF/MF switch, there’s an mounting ring, so
autofocus range limiter which operates either side of 6m, and we’re pleased to see Pincushion distortion can be slightly noticeable at
an AF-Lock button which can be customised for other functions. it’s available for the longer zoom settings, but is quite uniform, making
Whereas the older lens for DSLRs featured four SLD (Special DN edition. The foot it very easy to correct at the editing stage.
Low Dispersion) elements, the new DN edition supplements of the ring is directly
these with a top-grade FLD (‘Fluorite’ Low Dispersion) element. compatible with Verdict
The FLD element is one of the largest-diameter pieces Arca-Swiss style
of glass at the front end of the lens. mounting plates. 4.5 Outstanding
Performance 3 4.0 4.0 4.5 5.0
Autofocus speed is rapid and, in the Sony E-mount version we There’s a sturdy brass Features Build & Performance Value
tested, well able to track fast-moving subjects. Optical stabilisation mounting plate, which handling
is worth about four stops on its own, and works even better in comes complete with
conjunction with any in-body stabilisation in the host camera. a weather seal. Typical of Sigma’s Contemporary line of lenses, the
100-400mm DG DN OS aims for good performance
In both our lab tests and real-world shooting, the DN proved in a compact and light package, at a competitive
consistently sharper than the older DSLR-based lens across asking price. It comes up trumps for image quality,
the frame and throughout the entire zoom range and aperture delivering excellent sharpness and contrast, while
range. Colour fringing is even more negligible than in the keeping colour fringing, distortions, ghosting and
older lens, although pincushion distortion can be marginally flare to a minimum. It’s pricier than the original
more noticeable in the 300-400mm sector. Matthew Richards DSLR-mount DG OS HSM version of the lens, but
the boost in image quality justifies the extra outlay.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 121
KitZone Zoom lens Canon RF 100-500mm f/4.5-7.1L IS USM
Specifications
1 Mount: Canon RF
2 Full frame: Yes
3 Autofocus: Yes
Canon RF 100-500mm Image stabilisation: Yes
f/4.5-7.1L IS USM Lens construction: 20 elements in 14 groups
£2,899/$2,699 Angle of view: 24-5 degrees
Diaphragm blades: 9
Minimum aperture: f/32-54
Minimum focusing distance: 0.9-1.2m
Maximum magnification ratio: 0.33x
Filter size: 77mm
Dimensions: 94 x 208mm
Weight: 1,530g
Centre sharpness
3,000
2,500
2,000
1,500
1,000
A premium super-telephoto zoom 500
www.canon.co.uk 0 f/5 f/5.6 f/7.1 f/8 f/11 f/16 f/22
f/4.5 100mm 200mm
he Canon RF 100-500mm f/4.5-7.1L IS USM is the
300mm 500mm
T first super-telephoto zoom lens for EOS R-series
mirrorless cameras. This is a high-quality lens with 1 Sharpness
an L-series build; it even has a heat shield coating
for coping with shooting in challenging weather A smooth-to-tight ring Centre sharpness is excellent throughout the focal
conditions, whether it’s hot or cold. The 100-500mm focal length enables you to adjust range and at all apertures up to f/11. Diffraction causes
offers lots of flexibility to adjust your composition if your action how fast or slow you a small drop in centre sharpness at f/16 and beyond.
subject’s distance is moving closer or further away. want to be able to zoom
You should also get great image quality thanks to UD and Super in and out; the latter Fringing Short 0.19 Long 0.14
UD lens elements and ASC (Air Sphere Coating) coatings for strong helps stop ‘lens creep’
contrast and sharpness, plus they help prevent flare and ghosting. if you’re pointing the Aberrations aren’t quite minimised to a point where
It’s perhaps no coincidence and clever timing by Canon that the camera and lens they’d go completely unnoticed in real-world shooting,
RF 100-500mm was released after the EOS R5 and EOS R6 down between shots. but fringing never becomes even slightly distracting.
cameras, as it’s clearly a lens better suited to these cameras’
next-generation IBIS (in-body image stabilisation). With the RF 2 Distortion Short -0.04 Long 1.2
100-500mm you can increase the amount of IS stops from five
stops to six when the lens and camera IS combine; this is useful Shoot handheld or let At 100mm the Canon RF 100-500mm effectively
when you’re shooting at 500mm and f/7.1, and light levels mean you a monopod or tripod produces no distortion. At 200mm onwards we
can’t get a shutter speed over 1/500 sec for sharp shots handheld. take the weight, via the could see slight pincushion distortion.
tripod mount ring on
Performance the lens barrel. Verdict
We had high hopes that this lens would perform as well as, if not 3 4.5 Outstanding
better than, the Canon EF 100-400mm f/4.5-5.6L IS II USM
lens. But when it came to focusing faster and bagging better A control ring enables 4.0 5.0 4.5 3.0
bird photos, the RF 100-500mm felt very sluggish in comparison you to change ISO,
to the EF 100-400mm, meaning that we missed more than we aperture and shutter Features Build & Performance Value
hit. This is perhaps more due to a DSLR’s superior optical speed without having handling
viewfinders versus slower mirrorless EVFs. to take your eye away
from the camera. The Canon RF 100-500mm is a superb addition to
It’s a different story when switching from the EOS R to the EOS the rapidly expanding range of RF-mount lenses. It
R5 and its intelligent AF tracking, though. The AF system could combines Canon’s legendary L-series build quality
instantly snap onto birds wherever they were in the frame, and with premium optical performance that’s up there
track them with amazing speed and consistency. Peter Travers with the very best Canon zoom lenses we’ve tested
over the years. The only real drawback (apart from
the hefty price tag) is that you’ll really need to
shoot with this lens mounted on one of the newer
R-series models – the EOS R5 or the R6 – to get
the fastest autofocus performance.
122 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Rotolight Ultimate Vlogging Kit Lighting
Pack contains
Stealth RL468-B LED light panel 1
Rotopod three-legged stand
Support arm and clip
Twin accessory bar
Four-piece filter set
Adjustable phone clip
Rotolight 2 Specifications
Ultimate 3
Vlogging Kit Light source: Stealth RL48-B LED
Lux (at 1 metre): 242 (1,000 lumens)
£67/$89
Powered by: Three AA batteries
Camera phone vloggers can Filters included: LED 204, 205, 216, 184
easily light up their lives
Beam angle: 140 degrees
www.rotolight.com Circumference: 13.3cm (5.24in)
Depth: 2cm (3/4 in)
Mount: Shotgun mic
or RL48 stand
ighting manufacturer Rotolight recently diversified 1 screw the three-legged stand into the
accessory bar before mounting your
L its product range to appeal to camera phone-centric The existing RL48-B cameraphone and light panel at either end.
content creators. Whether you are a vlogger, ring light is now Use the push-button clamp to on the stand
filmmaker or photographer, chances are you available in a single- to get the desired angle and you’re ready to
struggled to get decent light levels when you light kit for content go. We attached a lavalier mic to our phone
broadcast yourself on YouTube or joined video conferences with creators who use to capture some video game player footage,
friends and family. Even if you were able to repurpose some of cameraphones. and were very pleased with the outcome
your core camera kit, perhaps it all felt a tad over-elaborate, – using the 184 (skin tone diffusion) filter in
like using the proverbial sledgehammer to crack a nut. 2 daylight produced an even spread of light
That has all changed now, with the very reasonably priced that warmed up the scene and flattered
Ultimate Vlogging Kit. You get an LED light and all the accessories The twin accessory bar the faces of our subjects. Niall Hampton
you need to illuminate your video selfies; it’s battery-powered has screw clamps for
and like your camera phone, simplicity itself to use. What’s attaching the phone Verdict
more, you’ll get some change from £100 or $100. and light panel.
The kit is based around Rotolight’s Stealth RL48, a circular LED 4.5 Outstanding
panel with a diameter of 13.3cm (5.25in). It’s powered by three AA 3
batteries that are inserted on the rear panel, and which will give 5.0 4.5 4.5 5.0
continuous light for four hours – far more than your cameraphone’s The Rotopod stand can
storage capacity for byte-hungry video footage. A set of four drop-in be table-mounted or Features Build & Performance Value
filters ships with the kit; these are inserted under the transparent carried while filming handling
front cover and enable you to tailor the light’s output to suit the on the go. The push
lighting conditions. They comprise two colour temperature filters button-operated clamp
(LED 204: 3200K and 205: 4100K) and two diffusion filters (184: means it’s very easy to
skin tone and 216: white diffusion). The diffusion filters can be used fine-tune your angles.
with the colour temperature filters if necessary, and an insert that
summarises when to use which filter is included in the kit. Pitched at content creators and YouTubers,
Rotolight’s Ultimate Vlogging Kit feels like great
Performance value for money. Easy to set up and straighforward
in use, it certainly does what it’s designed to do
This kit is user-friendly and can be set up in seconds. Place the – and for those occasions when you might not
support arm on the rear of the light panel and secure it by snapping actually be creating any content, you could use it
the Rotolight-branded clip through the front of the panel. Then for reading or for casting yourself in a better light
in these times of regular videoconferencing.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 123
KitZone
Budget
full-frame
cameras
Explore four of the best DSLR or
mirrorless cameras for going full-frame
while keeping your costs down
here are two big retention of fine detail and texture,
as there’s less need for the image
attractions in moving processor to smooth out the
appearance of image noise.
T from a crop-sensor
camera to a full-frame The downside is that full-frame
system. First, depth of cameras can be expensive, especially
field is more dependent if you need to change all of your
on actual focal length, lenses as well. If you’re a Canon or
Nikon user, you might already have
rather than the some compatible lenses, which can
be used if you upgrade to a budget-
‘effective’ focal length friendly full-frame DSLR or mirrorless
camera of the same make.
with a crop factor applied. The upshot
If you switch from an APS-C DSLR
is that you can get a tighter depth of to a full-frame mirrorless camera,
you’ll need a mount adapter for your
field to blur backgrounds and make old lenses. The budget-friendly Canon
EOS RP comes complete with an
the main part of a scene stand out; EF-EOS R mount adaptor, while the
Nikon Z 6 is bundled with the FTZ
ideal for portraiture and still-lifes. mount adaptor for F-mount lenses.
Here, we compare affordable full-
The second bonus is that, if you frame cameras from Nikon and
Canon in DSLR and mirrorless form.
stick to a modest megapixel count, Let’s take a look... Matthew Richards
the photosites (equating to pixels) on
a full-frame image sensor are likely to
be significantly larger than those on
an APS-C or Micro Four Thirds sensor.
This greater light-gathering potential
generally equates to much cleaner
image quality and far less image
noise when you need to bump up
your ISO. You also get greater
The contenders £1,349/$1,599
£1,299/$999
1 Canon EOS 6D Mark II £1,129/$1,499
2 Canon EOS RP
3 Nikon D750 £1,549/$1,799
4 Nikon Z 6
124 D I G I TA L C A M E R A NOVEMBER 2020
Getty
KitZone Group Test Budget full-frame cameras
Resolution (line widths/picture height)
50
40
30
20
10
0
100 200 400 800 1600 3200 6400 12800 25600
With its 26.2MP image sensor, the 6D Mk II doesn’t
win any prizes for resolution, but it comes out pretty
level against the other cameras here.
Canon EOS 60 Signal to noise ratio (decibels)
ژ(הxƏȸǸ XX 50
40 200 400 800 1600 3200 6400 12800 25600
£1,349/$1,599 30
20
This highly versatile DSLR is a major 10
upgrade over the original
0
ɯɯɯِƬƏȇȒȇِƬȒِɖǸ 100
As with the other cameras here, an upside of the
6D Mark II’s modest megapixel count is that levels
of high-ISO noise remain low.
till going strong after a Dual Pixel AF image sensor. This Dynamic range (EV)
enables hybrid phase/contrast
S three years, the 6D Mark detection autofocus in Live View stills 14
II is reasonably compact shooting and video capture. As such, 12
for a full-frame DSLR, sensor-based autofocus is much 10
and has great handling. faster and less prone to hunting.
With plentiful direct-access buttons 8
and dials to enjoy, you can quickly Live View and movie capture also 6
get at all the important settings for benefit from the upgrade to the 4
creative shooting. For delving deeper vari-angle touchscreen. The newer 2
into settings, Canon’s quick menu model also adds Digital Movie IS, 0
system is intuitive and works a treat which enables electronic image
with the rear touchscreen. The stabilisation when you shoot movies. 100 200 400 800 1600 3200 6400 12800 25600
weather-sealed construction is However, that movie resolution tops
robust, but fairly lightweight for out at 1080p, so there’s no 4K UHD The 6D Mk II is pretty good for dynamic range, with
a DSLR. Even so, the camera is capability apart from shooting similar performance to the EOS RP, but both cameras
significantly chunkier and heavier in time-lapse mode. fall a little behind Nikon’s Z 6.
than Canon’s mirrorless EOS RP.
One of the major upgrades over the Autofocus and metering are Digital Camera verdict
original 6D is that the Mark II has a consistently accurate, while auto white
much-improved 45-point autofocus balance gives a subtle and attractive 4.5 Outstanding
system. All of the points are cross- warmth. Image noise is suppressed
type, able to resolve detail in both very well, even at high ISO settings, 4.5 4.5 4.5 5.0
horizontal and vertical planes, and 27 and the maximum burst rate is a nippy
of them work at apertures as narrow 6.5 frames per second. Battery life is Features Build & Performance Value
as f/8. Better still, the Mark II features also very good, with around 1,200 handling
shots from a fully charged battery.
If you’re happy to stick with a DSLR rather than
swap to a mirrorless camera, the EOS 6D Mark II is
a solid performer and is top value. It’s a really good
all-rounder that would make a great ‘first’ full-frame
DSLR if you’re looking to move from APS-C.
126 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Budget full-frame cameras Group Test
Resolution (line widths/picture height)
50
40
30
20
10
0
100 200 400 800 1600 3200 6400 12800 25600
There’s virtually no difference in the resolution scores
of the EOS RP and the 6D Mk II – just a very slight
dip at higher ISO settings.
Canon 60 Signal to noise ratio (decibels)
0
³¨«ژ 50
40 200 400 800 1600 3200 6400 12800 25600
£1,299/$999 30
20
The smallest and lightest camera on 10
test might feel a little too pared back
0
ɯɯɯِƬƏȇȒȇِƬȒِɖǸ 100
With its later-generation processor, the EOS RP
edges ahead of the 6D Mk II here, and comes
out on top against its Nikon competition, too.
n designing the EOS RP, detection points on its Dual Pixel AF Dynamic range (EV)
image sensor. The OLED viewfinder
I Canon cut the camera to isn’t as large or detailed as that of 14
the bone. In many ways, the Nikon Z 6, but it does at least 12
it’s like a 6D Mark II, but give full coverage of the frame, 10
without a reflex mirror unlike the 6D Mark II.
and with the addition of an electronic 8
viewfinder. But it also does away with Unlike most full-frame mirrorless 6
the 6D Mark II’s secondary info screen cameras, the RP doesn’t feature 4
on the top panel, and has few direct- in-body image stabilisation, but it does 2
access buttons for adjusting shooting have the same Movie Digital IS system 0
parameters. On the plus side, the as the 6D Mark II – and it goes one
EOS RP is amazingly slim and light. better than its DSLR sibling in terms of 100 200 400 800 1600 3200 6400 12800 25600
Although controls are sparse, there maximum video resolution, delivering
are still front and rear command 4K UHD. However, 4K capture is Neither particularly good nor bad, the EOS RP gives
dials, a scattering of buttons, and hamstrung by a severe crop factor unexceptional dynamic range, although the scores
a conventional shooting mode dial – and the loss of Dual Pixel AF. maintain themselves through to ISO 3,200.
the number of custom settings
on which is bumped up to three, Image quality is very pleasing and Digital Camera verdict
compared with just two on the 6D almost identical to that of the 6D Mark
Mark II. Both cameras have the II, although high-ISO image noise is 4.0 Excellent
same image sensor, but the RP has even better subdued by the newer
a newer-generation image processor. processor. The maximum burst 4.0 3.5 4.5 4.0
As a mirrorless camera, the RP has rate is just 5fps, dropping to 4fps
no separate autofocus module, but if you need continuous autofocus. Features Build & Performance Value
features a massive 4,779 phase- Battery life is disappointing, even for handling
a mirrorless camera, at 250 shots.
The EOS RP is a quality camera that’s capable of
great results. The small, lightweight build makes
it a smart travel option. It’s a highly capable stills
camera that anyone looking to graduate to full-
frame photography would do well to consider.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 127
KitZone Group Test Budget full-frame cameras
Resolution (line widths/picture height)
50
40
30
20
10
0
100 200 400 800 1600 3200 6400 12800 25600
The D750 has the lowest-resolution image sensor
of the four cameras on test, but manages to hold
its own in the resolution lab test despite its age.
zǣǸȒȇ 60 Signal to noise ratio (decibels)
D750 50
40 200 400 800 1600 3200 6400 12800 25600
£1,129/$1,499 30
20
Although it has been eclipsed by the 10
newer D780, this is still a great SLR
0
ɯɯɯِȇǣǸȒȇِƬȒِɖǸ 100
The D750 is the weakest camera in this particular test
quartet, but there isn’t much in it; in real-world shots
there’s plenty of detail and little noise.
oming up to its sixth The D750’s build quality and handling Dynamic range (EV)
are very good. The construction is
C birthday, the Nikon tough and features weather seals, 14
D750 is the most and the typically chunky DSLR form 12
veteran camera in this factor makes the D750 feel a real 10
full-frame quartet. It handful, but in a good way.
lacks the competing Canon 6D Mark 8
II’s hybrid sensor-based autofocus The body lacks the 6D Mark II’s top 6
system, but for regular viewfinder- strip of control buttons but, as it has 4
based shooting it boasts an excellent a tilting rather than fully articulated 2
51-point autofocus module, including screen, they can be placed down the 0
15 cross-type points and 11 points left-hand side of the rear panel. Like
that work at f/8. the 6D Mark II, the D750 has a useful 100 200 400 800 1600 3200 6400 12800 25600
Further signs of its age are that secondary info screen on top, plus
there’s no touchscreen, although the a conventional shooting mode dial The D750’s dynamic range holds up pretty well
rear LCD does have a tilt facility. Video with two customisable user settings. against its newer rivals: the scores start to dip sooner,
capture is limited to 1080p, but typical but don’t go down as quickly at higher ISO settings.
of conventional DSLRs, autofocus Despite featuring a relatively old
for video and Live View stills is Expeed 4 image processor, the D750 Digital Camera verdict
ponderous and prone to hunting. has a fairly fast 6.5fps maximum burst
The newer D780 addresses all rate, and delivers very clean image 4.5 Outstanding
of these issues, featuring the same quality even at its highest ISO settings.
image sensor as the Z 6, adding It loses out to the mirrorless Z 6 for 3.5 4.5 4.5 4.5
4K UHD shooting, and including dynamic range, but edges ahead of
a touchscreen. However, it costs both Canon cameras in this respect. Features Build & Performance Value
almost twice as much as the D750. All things considered, the Nikon D750 handling
has certainly stood the test of time.
It’s not ideal for video capture or for shooting stills
in Live View mode, but as a conventional DSLR the
D750 takes a lot of beating, despite its age. It has
a professional-level AF system, and is capable of
producing superb images even in tricky conditions.
128 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Budget full-frame cameras Group Test
Resolution (line widths/picture height)
50
40
30
20
10
0
100 200 400 800 1600 3200 6400 12800 25600
The Z 6 delivers consistently decent results in this
test, although it’s little different from its rivals
thanks to their similarly sized image sesnors.
GOLD 60 Signal to noise ratio (decibels)
50
zǣǸȒȇAWARD 40 200 400 800 1600 3200 6400 12800 25600
Z6 30
20
£1,549/$1,799 10
More than just the cheaper 0
ȒȵɎǣȒȇژȒǔژǣɎɀ ǔǼƏǕɀǝǣȵ ɀǣƫǼǣȇǕ 100
ɯɯɯِȇǣǸȒȇِƬȒِɖǸ The Z 6 has no clear advantage in the lab and
comes out behind the EOS RP on paper, but
in real-world shooting it’s terrific.
he build quality and between the 6D Mark II and the EOS Dynamic range (EV)
RP, and the Z 6 looks and feels more
T overall construction of sophisticated than its mirrorless 14
the Z 6 is identical to Canon cousin. The electronic 12
that of Nikon’s flagship viewfinder and rear touchscreen are 10
Z 7 mirrorless full-frame both larger and more hi-res than in the
camera. The main difference is that EOS RP, while the Z 6 also adds a neat 8
the Z 6 has a 24.5MP image sensor, OLED info screen on the top panel. 6
compared with the Z 7’s 45.7MP. Handling benefits from five-axis, 4
That makes the Z 6 much less five-stop in-body image stabilisation, 2
expensive, and there are other plus which is lacking in the EOS RP, and 0
points as well. The smaller megapixel the Z 6 also has a better range of
count enables the Z 6 to have a faster direct-access controls, including the 100 200 400 800 1600 3200 6400 12800 25600
12fps rather than 9fps maximum burst addition of a mini-joystick controller.
rate, and the raw buffer size is greatly The Z 6 comes out on top within this quartet for
increased to between 26 and 43 shots, Numerically, the EOS RP has the dynamic range, with very consistent results up
depending on the compression edge in phase-detection autofocus through ISO 3,200, and the best scores higher up.
settings you choose. On top of that, points on its image sensor, but the Z 6
image quality remains noise-free, still boasts 273 AF points, and works Digital Camera verdict
even at very high ISO settings, beating equally well in practice. The maximum
every other camera on test. Dynamic shutter speed is the fastest of any 5.0 A best-in-class product
range is also excellent. camera in the group, at 1/8,000 sec.
Although the Z 6 is significantly The Z 6 also wins out for video, 5.0 5.0 5.0 5.0
smaller and lighter than the D750, it delivering 4K UHD with no crop factor.
still feels rock-solid. There’s less of In the final reckoning, it’s definitely Features Build & Performance Value
a difference in size and weight than the best of the bunch here. handling
The Z 6 is a stellar performer and a joy to shoot
with. If you’re looking to make the move to full-frame
photography, this could be the camera to beat.
And even the most die-hard DSLR devotees are
likely to be won over by this fabulous camera.
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 129
KitZone Group Test Budget full-frame cameras Also
consider
The Nikon Z 6
does it all Panasonic S1
£1,899/$2,499
It’s our favourite budget GOLD The relatively new S1 is a hefty camera
full-frame camera AWARD that matches the Z 6 and the A7 III for
image quality, but costs more.
he choice between full-frame credible and affordable full-frame options Reviewed: Issue 218
from other camera brands; see right for
T cameras and those using other two further possibilities. Sony Alpha 7 III
formats isn’t entirely clear-cut, £1,749/$1,999
but many photographers Their similarly sized image sensors mean The A7 III’s combination of frame rate
consider full-frame to be the superior that there isn’t much in it when it comes to and ISO range is still very impressive,
format, thanks to generally superior our labs tests, but our favourite from this and the price has been slashed.
dynamic range and low-light performance, test quartet is the Nikon Z 6. With well- Reviewed: Issue 203
plus a pleasing depth-of-field benefit considered controls and a compact size, it’s
for portrait and still-life photography. a pleasure to use; and technical credentials
We’ve looked at two models each from such as in-body image stabilisation and
Canon and Nikon, but there are other very fast shutter speeds yield terrific images.
How the
cameras
compare
Canon EOS 6D Mk II Canon EOS RP Nikon D750 Nikon Z 6
www.nikon.co.uk www.nikon.co.uk
Website www.canon.co.uk www.canon.co.uk £1,129/$1,499 £1,549/$1,799
Street price £1,349/$1,599 £1,299/$999 DSLR Mirrorless
(body only) 24.3 MP full-frame, 35.9 x 24mm 24.5MP full-frame back-illuminated
CMOS, 35.9 x 24mm
Camera type DSLR Mirrorless Expeed 4 Expeed 6
Image sensor 26.2MP full frame CMOS, 35.9 x 26.2MP full-frame CMOS, 35.9 x 24mm Nikon F Nikon Z
24.0mm Optical pentaprism EVF, 3,690k dots OLED, 100% coverage
Image Digic 7 Digic 8 100–12,800; expandable to 100 to 51,200 (exp. 50-204,800)
processor ISO 50–51,200 equivalent
51 phase-detection points 273 phase-detection points
Lens mount Canon EF Canon RF
1/4,000 to 30 sec, Bulb, Time 1/8,000 to 30 sec, Bulb 60m
Viewfinder Optical pentaprism, 98% coverage 0.39-inch EVF, 2.36m dots, 100%
coverage Full HD at 60p, 50p, 30p, 25p and 24p 3,840 x 2,160 at 30p, 25p, 24p
ISO range 100-40,000, expandable to 50-102,400 100 to 40,000 (exp 50 to 102,400) Tiltable 3.2-inch LCD screen, 3.2-inch tilting touchscreen,
(expanded) 1,229k dots 2,100k dots
Two SD/SDHC/SDXC XQD
Autofocus 45-point phase-detection AF, 4,779 Dual Pixel AF positions
all cross-type; Dual Pixel CMOS AF (143 zones)
Shutter 1/4,000 to 30 sec, Bulb 1/4,000 to 30 sec, Bulb
speeds
Video Full HD 4K at 25p, Full HD at 25p/50p,
HD at 25/50p
LCD screen Vari-angle 3-inch touchscreen, Variable 3-inch touchscreen,
1,040k dots 1,040k dots
Memory SD/SDHC/SDXC card slot (UHS-I) SD/SDHC/SDXC (UHS-II)
Connectivity USB, Wi-Fi, NFC, BLE, GPS USB, Wi-Fi, Bluetooth USB, Wi-Fi USB, Bluetooth, Wi-Fi
144 x 111 x 75mm 133 x 85 x 70mm 140 x 113 x 78mm 134 x 101 x 68mm
Body
dimensions 765g (with battery and memory card) 485g (with battery and memory card) 750g (with battery and memory card) 675g (with battery and memory card)
(W x H x D)
Weight
Features
Build & handling
Performance
Value
Overall
130 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
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KitZone Printer Canon imagePrograf Pro-300
2
1
Canon imagePrograf
Pro-300
£699/$899
A model that takes A3+ photo printing to a new level
www.canon.co.uk
Specifications he Canon imagePrograf It enables you to print photos big
enough to frame and hang on the
Inks/type: 10 pigment T Pro-300 is a high-quality wall, right from your own desktop.
Maximum paper width: 329mm (13in) A3+ photo printer,
designed to deliver Key features
Max print size: 329 x 990mm fabulous-looking output
Max print resolution: 4,800 x 2,400dpi on both glossy and matte media. It The ink range is comprehensive, with
replaces the Pixma Pro-10S in Canon’s 10 separate cartridges. You get both
Input trays: Top, rear lineup – a photo printer we already matte and photo black inks, cyan,
Display screen: 3-inch colour LCD rate as one of the best – and slots in photo cyan, magenta, photo magenta,
Interfaces: USB 2.0, 100base-TX Ethernet, Wi-Fi below the A2 imagePrograf Pro-1000. yellow, grey and red inks; plus a
Driver compatibility: Windows 7 SP1, 8.1 or 10; The two main choices for inkjet ‘chroma optimiser’, contained in its
printers at this price point are own cartridge. This smooths out the
macOS 10.11.6 or later dye-based or pigment-based inks. finish on glossy photo paper, so that
Dimensions (W x D x H): 639 x 379 x 200mm Dye-based printers are typically faster there’s no difference in the reflectivity
and work better with glossy photo of different colours and tones. The
Weight: 14.4kg paper, because the ink molecules are inks are from Canon’s latest Lucia Pro
small enough to get fully absorbed line-up, giving the potential for a wide
beneath the shiny outer surface of the gamut (colour space) with rich, vivid
paper. Pigment-based inks work better colour rendition, as well as high-fidelity
with matte and fine-art media, as the black-and-white photo printing.
ink is more resistant to fading.
Whichever ink option you choose, Unlike Epson’s older SureColor
the sheer amount of fine detail in SC-P600 13-inch pigment-based
a printed A3 or 13 x 19-inch photo printer, the Pro-300 includes
can be astonishing, with much dedicated channels for both photo
more wow-factor than an A4 print. black and matte black in its print
head. This avoids the need to waste
132 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Canon imagePrograf Pro-300 Printer
13
2 The imagePrograf You can stack paper in
Pro-300 can print the top tray, or feed in
high-quality images sheets manually at the
right up to the border back, using Canon or
3 on a variety of paper third-party paper.
types, from matte The maximum width
to glossy. is 329mm, while
support for panoramic
2 prints means the
maximum paper
The Pro-300 features length is 990mm.
a three-inch color
LCD screen with 4
an adjacent set of
navigation buttons, The two front controls
making it easy to set are an on-off switch
up paper types and and a button to cancel
4 monitor ink levels. the current print job.
time, ink and money when you switch catering to a range of popular print Available for Windows and macOS, Canon’s Professional Print
between glossy and matte media. sizes, the printer can output & Layout is a very capable companion app for the Pro-300.
panoramic prints of up to 990mm in
Like the Pro-10S it succeeds, the length. Another handling upgrade over Digital Camera verdict
Pro-300 runs on cartridges with a 14ml the older Pro-10S is that the Pro-300
capacity. This should prove sufficient features a three-inch color LCD 5.0 A best-in-class product
for between 30 and 60 borderless A3+ screen. This comes complete with
prints from each cartridge, although an adjacent set of navigation buttons, 5.0 4.0 5.0 4.0
it naturally varies depending on the making it easy to set up paper types
prominent colours and densities in for each feed path, as well as for Features Build & Performance Value
your images. Ink costs typically carrying out routine maintenance handling
average out to around £3.70/$2.75 per and keeping an eye on ink levels.
borderless A3+ photo print, which is We’ve always been very impressed with Canon’s
pretty reasonable. Like most inkjet Connectivity is good, with built-in 13-inch Pixma Pro-10S pigment-based photo printer,
printers, the Pro-300 is supplied with Wi-Fi and Ethernet as well as a high- but the new imagePrograf Pro-300 offers even more.
‘setup cartridges’; unlike with some speed USB port. A raft of cloud-based With upgraded Lucia Pro inks and a three-inch colour
printers, these last a while instead printing options includes AirPrint, screen, it’s a proper printing powerhouse.
of running dry after a few prints. Google Cloud Print, Windows 10
Mobile, Canon Print Service and Pixma
Build and handling Cloud Link. The printer is pretty quiet
in operation at around 40dB (A); a
Weighing in at 14.4kg, the Pro-300 Quiet mode is also available.
is no lightweight. It has a solid chassis,
and build quality feels excellent Performance
throughout. Handling is enhanced
by the inclusion of both a top feeder Print quality is outstanding. Colour
and a manual rear feeder. As well as rendition is rich and vibrant, but also
true to life. The soft proofing and hard
The Pro-300’s built-in Wi-Fi and support for proofing facilities in the companion
various cloud services means you can print Professional Print & Layout software
an image direct from your phone or tablet. make it easy to get exactly the results
you want on different media, without
wasting ink and paper.
Black-and-white photo quality
is equally impressive, with superb
tonal definition and richness.
Print speeds are very similar to
those of the Pro-10S, which aren’t
anywhere near as quick as for most
dye-based printers, but still pretty
nippy for a pigment-based printer.
Matthew Richards
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 133
INTERVIEW
Sandro SVaanndnrinoi
Vannini
The Italian photographer has shot stunningly
Travel photographer detailed images that document legendary
pharaoh Tutankhamun’s tomb and ancient
Sandro Vannini is an Egyptian artifacts. Steve Fairclough discovers
Italian photographer and the amazing story behind this mammoth project
filmmaker who began his
creative career in the early rchaeologist Howard Carter’s eight- Burton worked in, and the comparatively
1980s. Since 1997 he has primitive equipment he used, the quality
been best-known for year-long excavations in Egypt’s of his images was astonishing.
photographing ancient
Egyptian culture, for which A Valley of the Kings culminated on In 1997 – 75 years after the discovery of
he has special permission 4 November 1922, with the historic Tutankhamun’s tomb – Sandro Vannini made
to access sites that are discovery of the steps to the tomb of his first trip to Egypt to photograph Unesco
forbidden to the public. Heritage sites for a book project he was working
Tutankhamun. Carter began taking on. Like Burton, he was determined to tell a story
Vannini has pioneered and document the archaeological aspects, but
techniques to shoot digital photographs himself, but quickly also to photograph many places and artifacts
images in the extreme in lighting and detail that had never been seen
temperatures of the Valley realised he required a professional photographer before. Many of these shots feature in his book
of the Kings, including King Tut: The Journey through the Underworld…
in the tombs of the to document the excavation of the tomb and
pharaohs. His images are What drove your initial interest
among those assisting its artifacts. Harry Burton, who had been in photography?
the work of the Egyptian I started to take photographs when I was 13
Museum in Cairo in the working in Egypt for 12 years, was loaned or 14. But, as a professional, it started in 1982,
restoration of artifacts. when I was 23. I started with [shooting] film;
to Carter’s team. Burton shot straight on then I moved to digital when it arrived.
Since 2016, he has been
directing and producing to glass-plate negatives, coated with silver How did you first get involved
television programmes in photographing Egypt?
in collaboration with nitrate, with a large-format camera. His imagery I started as a climbing, mountaineering and cave
Egyptian archaeologist photographer, so my approach with photography
Zahi Hawass. included establishing shots within the tomb to was mostly geographical. I grew up with Italian
magazines like Epoca and, of course, with
www.sandrovannini.com note the positions of the treasures, close-ups of National Geographic. I started to work for
Instittuto Geographic, at De Agostini in
Opposite page: The golden each artefact and documentary images, such as
mask of Tutankhamun. This
image is an edited composite Carter inspecting the casket of Tutankhamun.
of 160 original photos.
While working in the tombs, Burton illuminated
them with electric bulbs rather than flash, and
positioned reflectors and mirrors to create
special lighting effects. He used a neighbouring
tomb, KV55, as a makeshift darkroom, and
had to meet Carter’s rigorous demands for
photographic quality. Carter wouldn’t move
on to the next stage of the excavation until
he’d approved each image. Over 10 years,
Burton shot around 1,400 images, many of
which remain iconic. Given the conditions
134 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Sandro Vannini/Taschen
INTERVIEW
Above: A life-size statue carved of Italy, in 1983. For many reasons, in the 1990s I Bertelsmann Group books. In 1997, I went to Egypt
wood, then covered with plaster, started to do more art, people and food alongside for the first time to make a chapter in this book series
painted and gilded, shows the geographical work. My activities moved into about Egyptian heritage in the Unesco list. When I
Tutankhamun standing, his left both contemporary art and ancient art and a first went to Egypt, I realised there was a lot to do,
leg extended in the typical male lot of architecture; mostly architecture of old and a lot that wasn’t done before, both in terms of a
striding pose, holding a papyrus buildings and heritage in general. normal storytelling and in the archaeological field.
staff in his left hand and
a mace in the right one. From the beginning of the 1990s, I started big At the beginning I started to use digital
productions about Unesco Heritage sites for the during post-production, but I was still shooting with
film, because at the beginning, digital was not so
“My photography was connected flexible. At that time you’d make a 4 x 5-inch shot
with film, then scan it with the best scanner available.
ɯǣɎǝژɎǝƺ ɎƺƬǝȇȒǼȒǕɵً ɀȒ XژɯȒȸǸƺƳ This made it possible for us to start making post-
production at a high level, even if the files weren’t
ɯǣɎǝژɎƺƬǝȇȒǼȒǕɵ ǼǣǸƺ Ə ȵǣȒȇƺƺȸٺ as big as the ones we produce today. It was a case of
136 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Sandro Vannini/Taschen
stitching photographs to make big pictures in places What sort of cameras and equipment do Opposite: The doors to the
where it wasn’t possible to have the entire vision, you work with nowadays? small golden shrine that was
because it was too tight [to shoot a single image]. In this book there are maybe 10 old pictures shot with found in the antechamber of
film, maybe less. The pictures in the body of the book the tomb of Tutankhamun.
Did you study the work of earlier photographers are all digital. This digital photography was done with
who had shot in Egypt? only two cameras. In the beginning I worked with a Top: Sandro Vannini in 2017,
Not much. I don’t want to seem arrogant but, Silvestre camera with Rodenstock lenses and the shooting a King Tutankhamun
because my photography was connected with the multi-shot Imacon digital back. The Silvestre camera artifact in the Egyptian
technology, I worked with technology like a pioneer. was very small, so we were able to adapt the use of Museum, Cairo.
My style of photography isn’t a style I can find in this camera in many structures [and locations].
other photographers in the field of archaeology. Above: Anubis performing
About 15 or 20 years ago I was doing what a lot In 2012 I switched to the Hasselblad H4D, the the Opening of the Mouth
of photographers are doing today, so I never multi-shot one. [The H4D-200MS combines shots ritual. Luxor, Deir el-Medina,
had another photographer to refer to. to generate 200MP-plus files.] The kind of work Tomb of Khaemteri.
I’d been doing at the beginning with the
www.digitalcameraworld.com NOVEMBER 2020 D I G I TA L C A M E R A 137
INTERVIEW
Sandro Vannini/Taschen
Above: Egypt, Luxor, Valley Imacon back was more complicated than with the You cannot bring in air conditioning to bring down the
of the Queens, West Bank, Hasselblad, but at that time it wasn’t possible to have temperature, so the only way was to bring ice inside
QV66: the tomb of Nefertari, such a simple digital camera with that quality, because aluminium boxes. These boxes were the table on
depicting Nefertari and the Imacon digital back was the highest-performance which we were using the computer, and where the
the jackal-headed Anubis. digital back on the market when I bought it. camera would wait to be used. You have to have a
system to downgrade the temperature without having
Above right: Canopia jars What major challenges do you have any kind of ventilation that would move the dust.
in alabaster from the New when photographing in tombs?
Kingdom, 18th Dynasty, At the beginning, the main issue was lighting. All of the Out of all of the images in your new book,
reign of Tutankhamun. The photographers before me used normal yellow lights or which one was the most difficult to shoot?
stoppers of the canopic jars flashes in the Valley of the Kings. None of them had Digital post-production isn’t a way to make
of Tutankhamun show the ever used HMI lights [high-quality lights often used photography easier. It is a way to solve something
king wearing the nemes in movies], but we brought a huge number of torches that isn’t possible with a normal shoot. In my opinion
headdress and with there, with a generator outside. In the Valley of the this is the [best] approach to digital photography.
the vulture and uraeus Kings the electricity [supply] isn’t stable, but our
serpent on his forehead. electrical system requires a lot of power and has to The mask of Tutankhamun that’s on the cover of
be very stable so we were obliged to have a very big the book is gold inlayed with a lot of different stones
power generator outside to provide all of the electricity – these can go from a red amethyst to the lapis lazuli
for lighting, computers, cameras… everything. and other darker blue stones. The difference in the
exposure from the point at which the light touches
Another big challenge in Egypt is the heat. The big the gold, and there is a flare, and the lowest point in
tombs are deeper in the ground, so the temperatures exposure – the very dark blue stone – is more than
are very stable during the summer and winter. But the 10 stops. No one camera is in the condition to
small tombs that are on the surface are very close to record a 10-stop range without using software.
the opening door. In summer they’d be more than 50
degrees [Celsius] and, of course, all digital equipment When I read that a camera has 15 stops of dynamic
– computers and cameras – always has problems range, this isn’t real. This means that when you shoot
when you work at very high temperatures. with this camera you can typically shoot 15 stops and
you can go with post-production everywhere [in the
These tombs are never clean – I found newspapers picture] and make more light here and less light
from the 1920s and 1930s on the ground in some there. But if you want to record a colour exactly
tombs, so nobody had cleaned the tombs in 80 years. as it is, you cannot profit from the 15 stops of
There is also very soft, light dust – like a powder – and dynamic range – you have to bring the exact
when you move this dust goes everywhere, inside the light that stone or metal needs to have.
cameras and inside the ventilation of the computers.
So I only had one way to do this: to make 10 pictures
“Post-production isn’t a way to make working on the 10-stop difference between the gold
ȵǝȒɎȒǕȸƏȵǝɵ ƺƏɀǣƺȸِ XɎ ǣɀ Ə ɯƏɵژɎȒژ and the dark stone, and to make a picture for the gold
ɀȒǼɮƺژɀȒȅƺɎǝǣȇǕ ɎǝƏɎ ǣɀȇټɎ ȵȒɀɀǣƫǼƺٺ and then go down [in exposure] in 10 pictures to arrive
at the [correct exposure for] stone. The same pictures
were done with the multi-shot assistant, so that’s 16
shots for each picture. So to do the mask I shot 160
times. Then, in post-production, we took out from
each shot – from each layer of this big sandwich of
138 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Sandro Vannini
pictures – the part that was the best shot at the
correct exposure. To do something like this, you
have to decide what to do at the beginning; it’s
not something that you just start.
What editing software do you use?
Mostly I prefer to do the colour control on the
software of the camera, like using Focus for
the Hasselblad. Colour control is usually something
we bring [in] at the end. For the most part I shot
[colour] levels very neutral, because I prefer to reach
the colour when we finish, because you have the
parameters to arrive at the original colour. Then
most of the work is done with Photoshop, which
is actually the only platform in which you can
find nearly everything you need. It’s just a
matter of being passionate [about editing].
This is not my job, by the way, but I usually direct it.
I’m very involved, because it’s me who’s decided to
make 10 shots of the mask and then to take out all of
the different layers. I know how the software works,
but it’s not me in front of the monitor for three weeks!
Your macro images have highlighted details in to the Egyptian Museum, which was 2.5 metres in Top: Luxor, Egypt, Valley
the artifacts that had never have been picked size, to diffuse the light on the side. I was putting this of the Kings, West Bank,
up before – how did you shoot them? big black tent over the showcases, so we took out KV16, the tomb of
I’ve been working with macro photography a lot, the glass, and I had found a way to light the objects Ramesses I; Kephri
because in Egyptian art photography jewellery is my without the need for people to come anywhere and Osiris sitting
first love. I never had the opportunity to go to the near me and have any impact on my lighting. on their throne.
Egyptian Museum and take a space somewhere and
set up a studio. If you go to do anything like this in To make macro photography like this is not easy, Above: The decoration of
any large museum in the world the curator has to because when you do macro photography with this pectoral centres on
bring the object to you and you photograph it. multi-shot technology it means that your whole a funerary scarab made
system has to be very stable. A movement of from green semi-precious
Each time I work there I have [about] 15 people just a couple of millimetres would make it impossible stone. It is flanked by the
around, mostly from the Egyptian Museum. They to wrap up the final image, so it’s very tough. two goddesses Isis and
stay open for you, give you the object, you’re set up Nephthys, who hold
for shooting and you have three to five minutes at the I always spent all the necessary time to do this, their arms open as
showcase – it means I was always obliged to find a even if it was only two pictures per day, to have things a sign of protection.
solution for this. When we started to shoot this kind of exactly as I wanted. In the beginning I was working
photography, for the first book I did on Tutankhamun’s with bellows with the Silvestre camera and
treasure in 2007 or 2008, I brought a black cube tent
www.digitalcameraworld.com NOVEMBER 2020 D I G I TA L C A M E R A 139
INTERVIEW
Sandro Vannini/Taschen
Above: This lamp takes the Rodenstock lenses. Now I shoot most macro a lot of joy and colour in this. To illustrate
form of a tall lotus-shaped photography with a very good Hasselblad and make a visual book about the voyage
goblet attached to a stand. lens and, of course, a huge amount of in the underworld was my objective.
The goblet is flanked by different lighting systems. The setup
openwork figures of the god for each picture is a story in itself. It’s about the soul of ancient Egypt, because
Heh gripping ankh signs and everything is related to this. It’s the best way
notched palm ribs, signifying What should people thinking of getting to understand what you go to see in Egypt
millions of years of life. The the book expect to see in it? because, without understanding this, it is
design is painted on a thin This book is a new approach to the subject difficult to understand more than what’s on the
slab of calcite that fits into and topic of Tutankhamun. Until now it has surface… like how big the pyramids are, how
its interior. It shows the only been visualised in books in one way – nice the statue of the Sphinx is or how they
king seated on a chair Tutankhamun’s treasure. For this book built this 5,000 years ago. There is something
and his wife facing him. we decided to take a completely different more, and to approach Egyptian civilisation
approach – to use Tutankhamun like our it’s important to learn this basic part of their
Above right: Sandro Vannini’s ‘testimonial’ and look at his voyage to the religion, otherwise it’s a superficial approach.
lighting set-up for shooting underworld. This is the voyage that every
in the Valley of the Kings, pharaoh is called to do after their death. We wanted to produce this book to make
Egypt, 2005. available for everybody these 20 years of
The afterworld for ancient Egyptians was like photography, dedicated to this fantastic
a separate, second dimension that is parallel to civilisation that is a part of our religions and
our world. The dead are near to us, living in this our roots in Europe and in the Mediterranean
parallel dimension. When anybody dies they Sea. We are all still connected with this
have to do this voyage, where there are plenty kind of civilisation today.
of dungeons and plenty of rooms to go through
to arrive at the eternal life. Tutankhamun is the • The book King Tut: The Journey
person who is guiding us, and we are following Through the Underworld – 40th
his path from the dead to eternity. Anniversary Edition, with
photography by Sandro Vannini,
The underworld is not a bad place – if you is published by Taschen (ISBN:
have been a good person in your life, then 978-3-8365-8423-4), £20.
the rest of your life in the eternity will be www.taschen.com
fantastic; it will be paradise. So there is
140 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Next month…
10 LANDSCAPE
MYTHS BUSTED
Creative ways to shoot scenics that break convention!
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Getty GEAR TESTS PLUS!
Sony A7C One to One pro
GoPro Hero9 masterclass
Waterproof
cameras Mini Test Photo projects
to shoot at home
Expert image-
editing tutorials
ON SALE Friday 13 November
•Contents subject to change
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146 D I G I TA L C A M E R A NOVEMBER 2020 www.digitalcameraworld.com
Back issues
BONUS DIGITAL GIFTS! 3 CAMERA GUIDE EBOOKS Canon Nikon DIGITAL GIFTS! 3 BONUS PHOTO BOOKS &
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Oct 2020 Sept 2020 Aug 2020 July 2020 June 2020
10 ways to capture autumn / Take your best-ever wildlife Get creative with colour: The magic of Manual: take Life begins at 50mm:
The best tripods on a budget photos with Dan Mold’s tips lighting, camera setting back control and capture techniques for getting the
/ Charlie Waite landscape and skills / The 100 best and image-editing tips your best-ever shots / The most from a fixed-length
masterclass / Canon EOS lenses of all time / Nicky and techniques / Travel best lenses for landscapes / lens / Best lenses for bird
R6 and Nikon Z 5 reviews / Quamina-Woo interview / superzooms on test / Adam Cooper on the legacy photos / Fun photo projects
Stuart Dunn interview / Canon EOS R5 review / Charlie Waite interview / of his father Michael / Nikon to shoot at home / Skylum
Focus Projects 4 full Image Presentation Sony A9 II / Photolemur 3 D6 review / Shoot portraits AirMagic drone software
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How to capture crystal-clear photos SHOOTNEW YEAR, NEW SKILLS
Setup Technique Get creative FOOD!
Fun and tasty techniques to
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Setup Framing Lighting
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to shoot indoors! for bokeh expert advice inside! prime lenses
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May 2020 Spring 2020 Apr 2020 Mar 2020 Feb 2020
Shoot sharper shots: how to 10 ways to capture Spring: Unleash the power of raw Shoot winter wildlife: capture Shoot food: fun and tasty
capture crystal-clear photos garden and indoor projects photos: tips on settings and nature like a pro / Group techniques to transform
/ Fun photo projects to shoot / How to clean your camera editing / Nikon D780 / Test: Canon and Nikon your photography / Group
indoors / Best lenses for gear / Macro lenses on test Canon EOS-1D X Mk III / standard zoom lenses / Test: budget prime lenses /
bokeh / Autofocus explained / Olympus OM-D E-M1 Mk III Jeff Bridges interview Sigma fp / Sony A6600 / Nikon Z 50 / Camera College
/ Craig McDean interview / / Food photography and photos / Alec Soth on Camera College / Practical / Simon Roberts interview /
Software offer: Aurora HDR masterclass / Free Batch storytelling in photography Photoshop / Magnum Free software: Luminar 3
2018 (Windows/macOS; Picture Resizer (Windows; / Mobile apps on test / 71 legend Josef Koudelka (Windows/macOS; offer
offer ends 31 July 2020) offer ends 31 May 2020) minutes of video training interview and photos ends 30 April 2020)
Teach Yourself 101 Amazing
Astrophotography Photos to Take
Astrophotography can Widen your photographic
seem daunting at first, horizons and learn to
but the photographic shoot spectacular awe-
possibilities it offers are inspiring imagery with tips
as vast as the sky at night. and advice. Develop your
Discover professional tips skills, hone your creativity
and tricks, and the gear and master landscapes,
you need to take your portraiture, macro and
art to another level. more! 180 pages
www.digitalcameraworld.com NOVEMBER 2020 DIGITAL CAMERA 147
Trivia quiz
with Chris George What the f-stop?
How much do you really know about
photography? Test yourself to the max
every issue with our tricky trivia quiz!
1 Which of these is not a 8 A ‘cake smash’ shoot is a
full-frame lens mount? trending style in what type
A D-mount of portrait photography?
B E-mount A Graduation parties
C F-mount B Babies
D Z-mount C Weddings
D Engagement couples
2 What is the dominant tone 9 Which of these features would
in high-key photography? you find on a bridge camera?
A 18% grey
B White A A powerful superzoom lens
C Black B An interchangeable lens
D Green C A wide-angle prime lens
Wikipedia / Creative commons D A fast lens
3 C41 chemistry is used for 10 Billingham bags originate
developing which of from which country?
these film types?
A Black-and-white negative film A Scotland
B Colour slide film B England
C Colour negative film C Ireland
D Infrared film 6 In which year did Thomas and D Wales
John Knoll invent Photoshop?
4 Which 21st-century film was filmed A 1967
over 12 years, with a teenager who
B 1977
is into photography? C 1987
A Tree of Life D 1997
B Whiplash
C Moonlight 7 What type of photography did the
photographer Nadar pioneer?
D Boyhood
A Food photography
5 What is the printing width B Aerial photography
of an A3+ printer?
C Timelapse photography
A 10 inches D Studio photography
B 12 inches
C 13 inches
D 17 inches
How did you do?
10 points You’re a photo mastermind!
8-9 points Fantastic, you’re a brainiac
6-7 points Really good score
4-5 points Respectable, but no cigar
2-3 points We’ll keep your score secret
0-1 points Epic fail
ANSWERS 1A,2B,3C,4D,5C,6C,7B,8B,9A,10B
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