Finally, Fuji X100 VI cameras visited the Photons Photo Lab. We now have the camera’s dynamic range (DR) test score. Let’s look at how the latest Fuji X100 VI camera has scored and how it compares against the previous generation of Fuji X100 V cameras.
Maximum PDR
low light ISO
low light EV
X100VI
10.44
3287
10.04
X100V
10.44
3728
10.22
X100F
10.29
3826
10.26
GR III
10.52
3862
10.27
X-T5
10.43
2230
9.48
So, as you can see the Dynamic range test score of the Fuji X-100 VI camera looks slightly better than the Fuji X100 V camera. At the same time due to lower sensors the low-light performance of the Fuji x-100 V camera is better compared to the latest X 100 VI.
The other major advantage you will notice is not visible in the chart, which is the major resolution difference between the two cameras.
That’s amazing News, finally, we will have Z Mount Red Cameras with fulltime AF support, let’s wait for that.
Nikon to Acquire US Cinema Camera Manufacturer RED.com, LLC
Accelerating Expansion in Professional Digital Cinema Camera Market
March 7, 2024
TOKYO – Nikon Corporation (Nikon) hereby announces its entry into an agreement to acquire 100% of the outstanding membership interests of RED.com, LLC (RED) whereby RED will become a wholly-owned subsidiary of Nikon, pursuant to a Membership Interest Purchase Agreement with Mr. James Jannard, its founder, and Mr. Jarred Land, its current President, subject to the satisfaction of certain closing conditions thereunder.
Since its establishment in 2005, RED has been at the forefront of digital cinema cameras, introducing industry-defining products such as the original RED ONE 4K to the cutting-edge V-RAPTOR [X] with its proprietary RAW compression technology. RED’s contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions, celebrated by directors and cinematographers worldwide for its commitment to innovation and image quality optimized for the highest levels of filmmaking and video production.
This agreement was reached as a result of the mutual desires of Nikon and RED to meet the customers’ needs and offer exceptional user experiences that exceed expectations, merging the strengths of both companies. Nikon’s expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with RED’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products in the professional digital cinema camera market.
Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies’ business foundations and networks, promising an exciting future of product development that will continue to push the boundaries of what is possible in film and video production.
Overview of RED.com, LLC
Company name
RED.com, LLC
Head office location
Foothill Ranch, California, U.S.A.
Representatives
Jarred Land, President
Foundation
2005 (Establishment)
Number of employees
Approximately 220
Business
Design, development, manufacture, sales, and provision of services of professional digital cinema cameras
Recently announced Panasonic 28-200mm F4-7.1 MACRO OIS [B&H Store] does not have outstanding optical performance. Take a look at what Petapixel said about this lens
The new Panasonic 28-200mm f/4-7.1 Macro OISsuper zoom is clearly designed to be a jack-of-all-trades that doesn’t really excel in any optical categories. It’s also fairly slow, which limits its usefulness in darker situations.
petapixel
Take a look at the Major Points of the Review
Weighing only 413g, this lens is extremely lightweight, yet it maintains an easy-to-handle 67mm filter diameter. The downside of its compact size is that the aperture value is relatively dark at F4-7.1, which can pose a problem when shooting in low-light conditions.
The lens barrel is small, resulting in simple controls that are well-crafted. The zoom ring has a suitable weight, preventing the lens from extending when you carry it around.
The image stabilization is highly effective, allowing handheld shooting at 200mm even with a slow shutter speed. The balance of the lens is also commendable.
The autofocus (AF) performs well, swiftly focusing from long to short distances.
There is a ghosting issue when shooting against the light, with colored speckled ghosts appearing at any aperture value. While this effect might look interesting for video, it’s quite noticeable and often undesirable for most still shots.
The lens flares are dim and lack drama. Overall, this lens does not perform well when shooting into the sun, so it’s advisable to avoid shooting directly into the sun or other bright light sources if possible.
The close-up performance is excellent, allowing 1:2 shooting at the wide-angle end. However, the working distance at this point is so short that you could almost touch the subject. If you prefer to maintain a working distance, 200mm provides sufficient magnification for close-up photography.
The resolution is decent, with good center detail at 28mm. However, it improves significantly if you stop down, so it’s recommended to do so whenever possible. The 200mm end yields similar results to the 28mm, but the edges are even softer. Due to strong distortion correction, the corners are soft regardless of the aperture.
Despite being a dark lens, it can blur the background at close range. There is some vignetting in the bokeh, but there is no onion ring blur. However, there is pronounced bubble bokeh, which makes the background blur quite busy.
Focus breathing is almost non-existent at 200mm, and very slight at 28mm.
The 28-200mm F4-7.1 is designed as an all-purpose zoom and does not excel in any particular category. Also, due to the large F value, there are limitations when using it in low-light conditions. However, it meets its portability and convenience goals, making it very appealing. It’s also a handy video lens and a macro lens, and these two features make it a sensible choice for those seeking a versatile lens for the L mount. In this respect, I believe this lens is useful despite its shortcomings.
Should you buy this lens? Perhaps. The 28-200mm F4-7.1 may be a good option if you prioritize convenience over performance.
So we have big news: Canon has discontinued the BG-R10 battery grip, which was being used for the Canon R5, Canon R6, and Canon R6 Mark II cameras. But why? still it’s being shown #1 seller B&H Store
This discontinuation could happen on only 1 Condition when we don’t have any alternative for the Canon BG R10, it means no sense in discontinuing the battery grip of a camera even if a new model is about to appear or something similar.
Just a year ago, I was imagining if there was any possibility of adding an autofocus motor to the Zero-D series lenses of Laowa. Since, Zero-D lenses are exclusively made by the Laowa brand only, and no other camera brand or lens maker produces Zero-D lenses like Laowa does. So, you can imagine using a 10mm lens on a Sony Camera with Full-time AF support and nearly zero lens distortion. It’s like a science fiction thing, but it is now possible, and you can have that
An ultra-wide lens from Laowa has arrived for the Sony E-mount and Nikon Z-mount that has built-in AF motor inside it.The Canon RF Mount version of the lens doesn’t have AF motor.
According to the latest rumors we have from Chinese sources, The upcoming firmware for the Nikon Z8 will bring massive update that improves the camera’s low-light performance. So, that a really big surprise that a firmware update can enhance the low-light performance of the camera. It will be interesting to see what happens once the firmware update rolls out and reaches the Z8 users, the upcoming firmware will improve high ISO performance and repair some small BUGs of the current firmware.
Let’s compare the Sony a6700 camera versus the Sony A73. People are quite confused about which camera they should buy since both of them are approximately in the same price range.
Can a 4-Year-Old Camera Beat Sony A6700?
The biggest factor behind the confusion is that the Sony A73 is a full-frame camera and every photographer wishes to have a full-frame camera in their hand. But it’s a four-year-old camera, so the big question is, can it still beat or outperform the Sony a6700 camera which is a recent announcement?
Let’s Find out the best camera for photographers
So, let’s do a simple comparison that will help you understand which camera you should buy based on your personal requirements and budget boundaries.
Vari-angle Display Screen Vs Tilting Display Screen
Design-wise, both cameras are good. The advantage we have with the Sony a6700 camera is the vari-angle display screen which is more helpful for a content creator rather than a photographer. With the Sony A73 camera, we do get a tilting display screen.
Sony A6700 Lightweight More Convenient for Vlog and Travel
The other biggest advantage of the a6700 camera is its slightly lightweight and compact body. So if you are a travel photographer or a content creator, it is recommended to have a smaller and more compact body for the long run.
Sony A7 III – Dual Card Slot and Professional Body
But if you talk about the advantages of the Sony A73 camera, we are able to have dual card slots in this, while the Sony a6700 camera is limited to a single card slot. At the same time, the overall look and feel of the Sony A73 camera looks a bit more professional.
Internal Core Difference – Best Camera for Photographers
Let’s talk about the internal core differences of both the cameras. If you are a photographer, which camera should you prefer? And if you are a content creator or filmmaker, which camera should you use? We will discuss below.
Full-frame vs APS-C – Best Camera for LOW-LIGHT
If you are a photographer, then without a doubt, having a full-frame sensor is the biggest advantage inside a camera. But at the same time, the sensor is approximately 4 years old. Will it outperform the Sony a6700 camera’s latest sensor in high ISO test or in base ISO test or not? Let’s find out.
At the highest ISO, you can see that at ISO 51200, the Sony A73 camera can preserve more details compared to the Sony a6700 camera. If you stop down ISO to 25600, the difference remains the same.
It indicates that the sensor of the Sony A73 camera, despite being a four-year-old sensor, is still outperforming the Sony a6700 camera’s latest 26-megapixel APS-C CMOS sensor.
CONCLUSION
So, if you’re a photographer and working in uncontrolled light environments, then it is highly recommended to buy the Sony A73 camera without a doubt.
The rest of the core specifications include the continuous shooting speed of the camera. With the Sony a6700 camera, you can shoot up to 11 frames per second, and the JPEG storage is approximately 1000 frames due to a larger buffer. At the same time, the Sony A73 camera’s slightly limited buffer space allows you to shoot up to 10 frames per second.
So, we have a very slight difference in the continuous shooting speed of the cameras.
Auto Focus System of A7 III Highly usable | Sony A6700 is More advanced
The artificial intelligence tracking system of the Sony a6700 camera is highly advanced. Now, you are able to track moving insects as well as high-speed moving vehicles. Although, if you talk about the face and eye autofocus detection and tracking mechanism, then the Sony A73 camera is also able to detect faces and eyes very efficiently.
Feature
Sony a6700
Sony A73
Design
Vari-angle display screen
Tilting display screen
Body
Lightweight and compact
More professional look and feel
Card Slots
Single card slot
Dual card slots
Sensor
Latest 26-megapixel APS-C CMOS sensor
Four-year-old full-frame sensor
ISO Performance
Inferior at high ISO
Superior at high ISO
Continuous Shooting Speed
Up to 11 frames per second
Up to 10 frames per second
Buffer
Larger buffer (approx. 1000 frames)
Slightly limited buffer
AI Tracking System
Highly advanced
Efficient face and eye detection
Recommended For
Controlled light environments
Uncontrolled light environments
If you’re a photographer, it is very clear that the A73 camera is performing extremely well under low light conditions. So, unless you’re working in controlled light environments like in your studio or if you shoot your models with controlled light, then only I would recommend you to have the a6700 camera for photography purposes. But if you shoot most of your pictures in uncontrolled light environments, then it is highly recommended for you to have a Sony A73 camera instead of the a6700 camera. Despite several features the a6700 camera has inside its body, it doesn’t matter if its low light performance is worse and the end result that you will have in your memory card is inferior compared to a 4-year-old camera. So, it doesn’t make any sense to recommend the a6700 camera.
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