The best full-frame camera out there right now

I have been doing research lately, because I want to purchase a new camera (maybe a couple of them, not sure yet), so I thought I’d put together my thoughts on full-frame cameras available these days. Before we get started, I need to make it clear from the get-go that there is no absolute best camera out there anywhere. There are however, best cameras for various needs. What I’m going to be talking about in this article is full frame cameras available right now, best suited for my needs as a professional photographer and videographer, and I will detail those needs below. Should you not have the patience or the time to read through this entire review, skip to the end for my recommendation.

What I can tell you about me is that I’ve been keenly interested in photography since college (that’s more than 20 years ago). I’ve shot on 35mm film and APS film and when digital cameras arrived on the market, I started buying them and shooting with them, even back when they only offered 3 megapixels and an ISO range of 100-400. If I look in my Lightroom catalogs under the camera metadata, I see over 70 of them listed there (it’s over 100 models actually but there’s some overlap plus some scanners are listed as well, so I’ll say 60-70 cameras just to be on the safe side). Also, my photographs have been published in 10 printed books (recipe books, health books and other literature) and have also been purchased as prints and licensed for commercial use. I am known commercially as a food photographer 😯. Yeah, go figure! Do you see any food photography in my photo streams or on my social media? Nope. It’s in the printed books though.

If this preface makes what I’m about to write here relevant to you, good, read on. If not, by all means, look elsewhere, there are a ton of websites that review cameras out there, and the market for this kind of subject has grown tremendously in the last several years. As a matter of fact, I feel that there are a little too many websites and people giving their mostly unqualified opinions on cameras these days and they’re muddying the waters.

From 2008 onward, I have used (mostly) Canon cameras. I have three Canon DSLRs (a 5D, a 7D and a 60D) plus a PowerShot G10. I have other cameras (Olympus, Minolta, Kodak), but so far, I’ve shot most of my photographs with Canon. In 2007, I fell in love with the original EOS 5D. It may sound strange to fall in love with a camera, but the 5D was (and still is) a combination of beautiful design and features that made it irresistible to me. I thought this camera was the cream of the crop and it truly was, in its time.

I wasn’t the only one to think so, seeing as how Canon has not changed the exterior design of the camera through 4 subsequent generations (Mark II, Mark III, 5DS/5DSr and Mark IV). Why mess with a good thing, right? The design is gorgeous, even after all these years. Have a look at a few photos of my 5D taken last night. Isn’t it a beauty? 😍

My 5D after 10 years of use. I still love it!
My 5D after 10 years of use. I still love it!
My 5D after 10 years of use. I still love it!

I still actively use my 5D. I take it out of my equipment cabinet every once in a while to take photos with it, and then I don’t want to put it back. I want to keep it on my desk so I can look at it as I work. It has performed just as I expected it to perform all these years: superbly. I only had to send it in for service twice: once to replace the shutter (I had taken somewhere between 75,000 – 100,000 photographs with it at the time) and on another occasion, to fix the hotshoe, because the rails had become loose and my speedlites weren’t making proper contact.

Here’s a photo I took yesterday. I love this camera!

Indeed
Stefanel asleep on an armchair

While I’m talking about my love for the 5D, I was once invited to the launch party for the Olympus E-3 flagship DSLR and I brought my 5D along to take photos of the event. The 5D was my best camera at the time and I wanted to make sure I could take quality photographs of the event.

Olympus E-3 DSLR
The Olympus E-3 was dustproof and splashproof

As I was talking with some of the Olympus folks, they asked me what I thought of the E-3. My answer was: “It looked great so far and that I looked forward to reviewing it in the field, given that it was up against some tough competition from my 5D, which I loved.” Yeah, that was a smart thing to say… 😬 To my credit, I had just bought the 5D a few months back and I really did love it. Guess how many more invites to Olympus launch parties I got afterwards? ⛔ When I requested the E-3 for my hands-on review, repeatedly, after I’d already published a preview post, their polite answer was that “there were a limited number of review units and they were all out on loan”. Ouch! 🚪 As the Soup Nazi would say, “No camera for you!” 🙅🏻‍♂️

However… and I think you expected this “however” after the long setup… after 10 years with my 5D and several years with my other DSLRs, I am now at an impass. I need a new professional digital camera that meets the following two criteria:

  1. Takes high-quality, high-resolution images and
  2. Shoots 4K video (proper, high-quality 4K video)

I’m looking at cameras with sensor sizes up to full frame. I don’t want to move to a medium format sensor just yet, for reasons I can perhaps detail in another post. So I have some tough choices to make. If you’re in the same boat, maybe this post can help you decide.

This impass is also partly caused by Canon. Just this past week, I tried sending my 5D in for a professional sensor cleaning, because it’s got some dust spots that I just can’t clean off with sensor swabs, only to be told that the 5D is no longer being serviced as of September 2015. Canon no longer provides parts for it and has apparently instructed Canon authorized service centers not to service it, not even to clean the sensors 😡. I’m willing to pay to service my camera but Canon doesn’t want to service it! The camera still works great, but according to Canon, I can just chuck it away. Should something go wrong with it, it becomes e-waste. Thanks a bunch, Canon! 😠

Given that I love my Canon 5D and I like (not love) my 7D and 60D, which are my workhorses these days, and that I’m heavily invested in Canon gear (EF and EF-S lenses, speedlites and transmitters, extra batteries, extra chargers, cable releases, etc.), I naturally would like to get a Canon camera. The more research I do though, the more I realize that it would not be the best option for me right now.

I want a full frame camera. I love the dimensionality and quality of the photos that I get with it. I can’t quite put my finger on what it is that I love about the photographs from a full-frame camera, but they’re good. I know, I’d probably love a medium-frame sensor even more… Maybe at some point in the future…

Let me offer a quick explanation of resolution and sensor size, because it’ll set the stage for some of the choices I have to make. A camera with a full frame sensor can offer more resolution because there’s more surface on the sensor for the pixels. It can also offer a higher ISO range, but there is a trade-off between higher ISO and higher resolution. At the current time, there are limits to both values and it has to do with the surface area of the sensor. If you take a 35mm (full frame) sensor, you can get more resolution from it, but you’ll have to squeeze more pixels in there (hence the term “mega-pixels”). The smaller the area for each pixel, the less light it can see, so that means that you’ll run into limits on the ISO range, because collectively, all those tiny pixels won’t be able to see very well in the dark. You can push the ISO up, but you’ll only get more noise. The algorithms baked into camera processors get better every year and consequently, they can better interpret the signal received from the sensor and you can thus push the ISO range higher, but only so far before you get digital garble. That’s why the Canon 5DS has a 50 megapixel resolution and an ISO limit of 6400, while the Sony a7S II has a 12 megapixel resolution and an ISO limit of 102400.

Canon 5DS Front
The Canon 5DS
Sony a7S II Front
The Sony a7S II

The Sony can literally see in the dark, that’s how good it is. You can sit out in pitch darkness, put it on manual focus, hold it in your hand, take a photo, and the camera will actually see what’s around you! Both are full frame cameras, but since the Sony a7S gives me the same resolution as my current Canon 5D, it’s not my optimal choice. Now, the frame rate also plays into why the a7S and some other cameras offer lower resolution (and higher frame rates), but let’s not complicate matters. I don’t need a camera with an incredibly fast frame rate, because I have no interest in sports photography.

When the Canon 5DS came out, I was speechless. Here was a camera that offered 50 megapixels from a full frame sensor and the quality of the photographs was not questionable. 50 megapixels is medium-frame territory! But did it shoot 4K video? No. It did not meet my second criteria. So if I got it, I would also have to get a separate camera (or cameras) in order to shoot 4K video for our web shows. I don’t know about you, but not only do I not want to have a large inventory of equipment that needs to be mastered, operated and maintained, I also don’t want to spend a small fortune equipping my studio, given how ephemeral digital equipment can be (see what Canon did to my 5D above, it discontinued support even though a LOT of original 5D cameras are still working). Also, different brands require different lenses (this is an aspect that I’ll address a bit further down the page), so not only would I have to get more cameras, but more lenses and accessories for them, and that means an even greater budget.

Then the 5D Mark IV came out. Here was the answer to my dilemma, or so I thought… But Canon decided to give it 30 megapixels (after they had successfully shown that they could offer 50 megapixels two years prior). I am fully aware that 30 megapixels is quite a lot in and of itself, but there are other full-frame cameras on the market which offer significantly more resolution at the same price and same (and some would say better) image quality. And while the camera offers 4K video, it is encoded in Motion JPEG, which is not an ideal video codec. There’s been a lot of discussion online about this (here’s one example). Remember when Nikon first started to offer HD video on their DSLRs, what seems like ages ago? It was also Motion JPEG and people were groaning and complaining about that to no end, while others were saying we should be happy they’re offering it at all. Well, now it’s my turn to groan and complain about this thing, while others are just happy it’s UHD (4K) video instead of FHD (1080p)…

Canon 5D Mark IV Front
The Canon 5D Mark IV DSLR

Also, if someone wants a professional flat color option in video (for proper color grading in post), it is a paid extra. Adding the Canon Log gamma is $100 and if you didn’t buy your camera with it, you have to send it to an authorized Canon service center to get it upgraded. Most camera stores offer you the option of buying it either with Canon Log or without Canon Log. Granted the $100 video upgrade is pocket change when we’re talking about a camera that costs $3,300, but why is it an add-on when other camera manufacturers offer different gamma logs built right into the camera?

And that my dear reader, the price, is the final rub. I get that the DSLR market is shrinking and companies making sophisticated, higher-end cameras end up selling less of them and making less money. It’s logical, isn’t it? Most people now rely on their phones to take photos; they’re sufficient, and in the case of some phones like the iPhone 8, iPhone X, Google Pixel 2 and Samsung S8, the cameras are more than sufficient, they’re outstanding given their tiny sensors and lenses. Most people don’t need a complicated DSLR or mirrorless camera because they don’t need all those myriad options, they’re intimidated by them, they don’t appreciate the quality of a large-surface sensor and they think they’re heavy and expensive. If you’ve just shelled out $700-800 for a new phone, it’d better take good photos, right?

Well… those of us who take photos professionally need more than a mobile phone when we take photos (although I’ll tell you a secret, I managed to sneak in a photo taken with my iPhone into a book 😏) and we also need decent pricing, durability, reliability and top-notch features on the expensive equipment that we we purchase.

We’re also affected by this market crunch, aren’t we? I’ll give you just one example: Adobe Stock. Adobe has been marketing their new stock image service heavily in recent months. I submitted several photos to it last year and sold a few. Do you know how much I made per photo? Around 40-60 cents! Those are microstock profits and they mandate a ridiculously high volume of sales. You can only submit RF (royalty free) and at those payouts it’s not worth my time. I’ve been with Alamy for years and their payouts are much better, plus they offer the option of RM (rights managed) licensing, but they’re killing me with their keywording requirements (¡Ay, caramba!), so I haven’t submitted a lot of photos to them.

I wonder how many of you have sat down to do the math and get a grand total for what it takes to be able to take high-quality photographs. It’s not just the initial costs, it’s the upkeep: the ever-increasing storage needs, the backups, the software, the work involved in managing, editing and keywording the photos and videos, the upgrades to the computers, the displays, the cameras, etc. By the way, if you want to put me in hell, make me keyword photos for a stock photography website. Or make me take wedding and birthday party photos. That’s true torture for me! I’d rather be horse whipped. But the dirty truth is that wedding photography is how a lot of photographers make their money and buy their gear… I digress…

If I’m going to plunk down $3,400 for a brand new camera and maybe $1,000-3,000 more for lenses and speedlites and such, that camera had better be amazing. It had better give me what I need. Actually, since I live in Romania (which is in Eastern Europe), I’m going to pay much more for the camera. Instead of $3,400, I get to pay $4,460 (16.999 lei). Yeah, that’s how things are when you’re not in the US…

That’s what Canon and the other camera manufacturers out there need to understand. Now that the market for their mid to high-end products is shrinking, they need to offer more value to their customers.

You know who’s innovating and who’s trying their hardest? It’s the companies with smaller market shares: Sony, Olympus, Panasonic and Fujifilm. Canon’s sitting on top of the heap with the largest market share and it doesn’t have a fire burning under its derrière, so to speak. It can afford to slow down the whole production cycle. Nikon was in the same situation and it chose to turn things around. People are very excited about the D850 right now, but they were angry with Nikon for some time because it wasn’t innovating.

Nikon D850 Front
The Nikon D850 DSLR

While I’m on the subject of the Nikon D850, wouldn’t it be the best option for me right now? After all, it’s got a high-resolution sensor that offers 45 megapixels and wonderful 4K video encoded in H.264. I love its design. I have to say, I’ve been tempted to switch to Nikon every now and then, but that lull in their product development cycle that lasted years, while other companies like Sony and Olympus and Panasonic were busy creating amazing cameras, dissuaded me from it. There’s also the not-insurmountable but large obstacle of having to buy all-new glass, speedlites and other such accessories. There are no adapters on the market for Canon EF lenses to Nikon FX lens mounts. Metabones makes the best full-featured adapters for this sort of application (using different brands of lenses on different brands of camera bodies) and if they don’t make one, it’s not available and not worth getting (no, they’re not paying me to say that).

We’re coming to the reveal now, aren’t we? What camera is best for my stated needs right now and whyHere it is, it’s the Sony a7R III.

Sony a7R III Front
The Sony a7R III

It’s got a full-frame sensor that offers a resolution of 42 megapixels and beautiful 4K video encoded in one of two formats, XAVC S or AVCHD, with a choice of two professional ready-to-use gamma profiles, S-Log3 and HLG (at no extra cost) and best of all, Super 35mm 4K oversampled from 5K, which means it’s higher quality video than regular 4K video. It’s also got pixel shift multi shooting, an interesting technique that offers much higher detail at 1:1 view (see this video).

An important feature that sets it apart is its 5-axis optical in-body image stabilization. The Canon 5D Mark IV and the Nikon D850 don’t have it; they rely instead of the optical IS (or in the case of Nikon, optical VR) built into the lenses themselves. In-body IS doesn’t preclude optical IS built into the lenses either, so that’s another plus.

In-body 5-axis image stabilization
In-body 5-axis image stabilization

This is important because you have to remember this is a full frame sensor. There’s a lot of data that gets captured with it, every single second, and that data needs to be processed. Camera sensors suffered from something called rolling shutter not so long ago when they recorded video. When Canon first offered 1080p video on its 5D (it was the Mark II), there was pronounced rolling shutter. People called it jellocam and was a lot of discussion online about how to minimize it if you wanted to shoot professional video. You see, the larger the sensor, the more data that needs to be processed when the camera is moving and the more prone the camera is to show the rolling shutter effect. When you stabilize the sensor optically, in-camera, you provide a tremendous amount of help in reducing video shake and rolling shutter from the get-go. You don’t have to fix it so much in post-production.

And there’s another feature that sets it apart: 399 phase-detection AF points covering approx. 68% of image area width and height plus 425 densely positioned contrast-detection AF points, plus something that Sony calls 4D Focus. Compare the sheer number of AF points with the cameras from Nikon and Canon and once again the a7R III stands out.

Another good little thing the Sony a7R III offers (that may be important to some) is a USB 3.1 Gen 1 compatible USB Type-C port. This is good for charging or various accessories that need that sort of connection.

Finally, here’s the deal clincher: I can use my Canon glass on the a7R III! Remember Metabones, the company I mentioned above? They make an adapter that will let me use most of Canon’s EF and EF-S lenses on the Sony camera. It’s called the Canon EF Lens to Sony E Mount T Smart Adapter (Mark V). It supports all of the functions of Canon’s lenses, such as full aperture control, full AF, and IS for both photos and videos (see this for the details).

Metabones Canon EF and EF-S Lens to Sony E Mount T Smart Adapter
The Metabones Canon EF and EF-S Lens to Sony E Mount T Smart Adapter (Mark V)

And if that’s not enough, they also have something called the Canon EF Lens to Sony E Mount T Speed Booster ULTRA 0.71x II (Mark V), which does all of the above, increases the aperture by 1 stop and makes the lens 0.71x wider (see this for the details).

Canon EF Lens to Sony E Mount T Speed Booster ULTRA 0.71x II
Canon EF Lens to Sony E Mount T Speed Booster ULTRA 0.71x II (Mark V)

I can buy the Sony a7R III and the Metabones adapter and get right to work using my Canon lenses. I can always buy Sony lenses later.

 

 

best-sony-a7r-iii-lenses.jpg
A lens line-up for the Sony a7R III

There are things that the a7R III could do better:

  • There is no built-in GPS. This is a pet peeve of mine. Tons of cheaper cameras have built-in GPS. Most cameras made nowadays offer it standard, as a matter of fact. It’s an amazingly useful feature. Canon offers it on the 5D Mark IV. Nikon offers it on the D850.
  • Another useful feature that’s missing is the built-in intervalometer which lets you shoot timelapses. The 5D Mark IV has it and so does the D850. On the a7R III, you’ll need to purchase an external intervalometer.
  • Also, it seems that its video quality could improve (see this post) although from what I’ve seen so far online and I’ve looked plenty, the a7R III video is pretty great, with sharp focus, definition and color, even at long focal lengths. Ideally, it could offer interla 10-bit 4:2:2 4K video at 60 fps, although I haven’t seen that feature on the other full frame contenders.

So there you have it, the Sony a7R III may not be the best camera out there, but it’s the best camera for my stated needs, right now.

There are also some additional things I’d like to submit for your consideration. One is the aesthetic of the mirrorless camera sporting a long, bulky lens. It looks something like this.

This is the Canon EF 70-300 mm lens mounted to the body of an Olympus E-PL1 mirrorless camera
This is the Canon EF 70-300 mm lens mounted to the body of an Olympus E-PL1 mirrorless camera

Mirrorless cameras have their own aesthetic, which has evolved for particular reasons: they’re smaller, lighter, easier to carry, but those very advantages that make them great for travel or simply great for lugging around also make them look prety funny when they’ve got a big lens attached. Imagine a large, full frame, 400mm or 600mm lens attached to a small mirrorless camera and things get even funnier.

While it was Epson who invented mirrorless cameras when they introduced the RD1 (see this post), it was Olympus who made us go, “Oh yeah, I get it now!” when they started making them. A mirrorless camera with a micro four-thirds (MFT) sensor is a tiny thing that takes tiny lenses: they’re smaller in diameter and thus much lighter and they look in proportion when mounted to those cameras.

Years ago, when I heard that Sony had introduced a mirrorless camera with a full frame sensor, my first reaction was, “Huh?” In my mind, it defeated the purpose of a small, easy to carry camera and lens kit. A full frame sensor requires larger diameter glass and even though the camera is small, the lenses are going to be big. In that sense, the a7R III is a strange animal, sort of like a giraffe with a normal head and neck, but a tiny little body. You’re not really holding onto the camera when you use a bigger lens, you’re holding onto the lens and the camera is just sort of there like a lens attachment. Now, be that as it may, I’m not going to argue with results. The a7R III is a fantastic camera and that’s that.

I’d also like to take a step back, put the budgetary concerns aside and talk hypothetically about the ideal equipment for those two stated needs of mine (high resolution and great 4K video), because it’s worth talking about. Clearly, it’d be better to separate the two tasks and then focus on the equipment that does each of those two things best. If I were to have a much larger budget to play with, what would I do?

For photography, I’d separate the cameras even further into studio photography (or let’s call it local photography) and travel photography, particularly hikes through nature, for sheer weight considerations.

For studio or local photography, I’d probably go with the Canon EOS 5DSr or the Nikon D850. The 5DSr offers 50 megapixels of resolution while the D850 offers 46 megapixels. It’s the same ballpark and it is medium-format territory (in terms of resolution). Under controlled lighting situations or on a tripod, where I don’t have to push the ISO range to its limits, I would get crisp and clear high-resolution images (the highest resolutions available from full frame sensors today).

Canon EOS 5DS R
The Canon EOS 5DS R

If I did a lot of hiking and travel photography, I’d probably go with the Olympus OM-D E-M1 Mark II or the OM-D E-M5 Mark II. Even though the E-M1’s regular resolution is 20 megapixels, it has a high resolution shot mode where it takes eight consecutive photos while shifting the sensor and stitches them together in camera to give you a 50 megapixel photograph. You’ll have to use a tripod, but this is great for studio, architectural or landscape photography. It’s the same with the E-M5: it offers 16 megapixels but using the same high res shot mode, it can give you a 40 megapixel photograph.

An even lighter alternative is the Olympus OM-D E-M10 Mark III. It offers 16 megapixel photos, it has no high res shot mode but instead gives us the unexpected gift of 4K video at 30p. And it is adorably small. You can’t realize how cute and lovable that little camera is until you see it in person! 😍 Put it together with a few light MFT lenses and you’re good to go just about anywhere! ✈

Olympus OM-D E-M10 Mark III
The Olympus OM-D E-M10 Mark III

Now let’s talk about video. I’ll point out a couple of cameras that offer amazing 4K video, and they are (no surprise here) the Panasonic Lumix GH5 and its newer brother the Lumix GH5s, which is better suited for recording video in low light situations.

Panasonic Lumix GH5
The Panasonic Lumix GH5

The differences between the two cameras are eloquently explained in this video put together by the great staff at B&H Photo.

Of course, the best video you can get comes from professional video equipment and one company whose products I like is Blackmagic Design. Check them out, you might be pleasantly surprised by their product offering and their prices.

Well, there you have it! I hope this post of mine has been enlightening 😇, I hope I’ve explained my thought process in a way that helped you understand the challenges involved in choosing the best camera suited for the two needs stated at the start and if you liked this, please share it with your friends who are trying to decide what camera to get. Cheers! 👋

My favorite vantage point for photography

I was invited by the folks at Light, who are working on some pretty interesting camera technology, to write about my favorite vantage point. I explained to them, as I’m explaining to you now, that I don’t have one. I get bored with shooting the same locations and I’m always on the lookout for new things to shoot.

Then I realized that over the past few years, I’ve been working in the exact same location, putting in lots of time and effort, being happy with the challenges offered by that very same spot and enjoying the beautiful results. But you didn’t know about those photos, because I haven’t published them on my website, and it didn’t occur to me earlier that it was a vantage point. I’m talking about my studio work for my wife’s printed books, in other words, about my food photography.

My favorite vantage point over the past few years has been the whitebox (the official name for it is a seamless tabletop background sweep cyclorama). Here’s what it looks like:

whitebox.jpg

That’s where I’ve been spending my time. Lots of my time. Here’s one example of my work:

RPOP-2015-05-1335.jpg

This is one of my wife’s raw desserts. It’s a raw vegan whipped cream, mint and strawberry cake. You can find the recipe for it in her Raw Desserts book.

And here’s another photo from the same book. I apologize if it leaves you drooling. It’s a raw vegan brownie with a raw chocolate glaze.

RPOP-2015-05-0139.jpg

Here’s how I work. I don’t have a set position for the camera or for the speedlites. I work handheld and I vary my camera position, angle and lens until I find what I think is a good frame for the photo. Then I’ll shoot a few photos to see how the lights fall on the subject and whether I need to vary their positions as well, in order to bring out the colors and sculpt the dimensionality of the photo with lights and shadows.

I use three independent speedlites triggered by the on-camera flash, which I sometimes choose to also fire or to only have it act as a remote for the other speedlites. For this photograph, I worked with my Canon gear: one of my three Canon cameras, an EOS 60D and three Canon speedlites. I love my EF-S 17-55mm f/2.8 IS USM lens and I tend to use that a lot for my studio work. I also use ambient light from within the room itself (I turn on wall and ceiling lights) and I use a mix of warm and cold lights. I know most people say you should use the same temperature lights, but I prefer to mix them in order to get a warmer ambient light. The speedlites overwhelm the subject with their cold light, but there’s a hint of warmer light all around the photo, which I like, and this comes out when I edit the photo as well. I suppose I started doing this when I began to shoot video. People leave a lot of work for post-production, but I do like it when I capture the mood light of the video live, as I shoot it, so I fiddle less with it in post.

I’d like to say I’m the set designer as well, but for my food photography, I leave that to my wife. She’s the award-winning raw chef with seven published books and I’m the photographer. Sometimes we’re inspired and we love the results, and sometimes we’re not happy with what we get. So we re-do the photo shoot at another time. There have also been instances where we’ve re-shot certain recipes for later editions of her books, because we weren’t happy with the photographs and as our skills improved, we knew we could do better.

I wish I could be more helpful than this but for me, every studio photo is a new challenge and I vary my angles and lighting in order to get what I think are the best photos of my subjects. My wife and I then cull through them and pick the ones that’ll go into her books. I then edit each one carefully, add it to the collection designated for that book in my Lightroom catalog and carry on doing this until we’re ready to turn things over to the publishing house.

Camera preview: Canon EOS M

As I announced back in June of 2010, Canon has been at work on a mirrorless camera and they’ve finally launched it. It’s called the EOS M. It uses a new EF-M lens mount and its specs are pretty much what we expect mirrorless DSLRs to have these days. It ships in four colors: black (see above), white (see below), red and dark silver. Suggested MSRP is $799.

I’m going to be blunt, because the late arrival of this camera is frustrating. The only innovative feature I can see on it is its Hybrid CMOS AF System, which is located right on the sensor. Other than that, this is another mirrorless DSLR in an already mature market, albeit a highly anticipated model from a large manufacturer.

Canon took their time to take the plunge. My guess is they wanted the other manufacturers to “work out the bugs” in terms of the feature set and pricing, then they matched what the market wanted to see. They didn’t stick their neck out there to try something new. They let others do the hard work while they kept fiddling with the EOS Rebel line and tested the waters (partially) with the PowerShot G1 X and its large sensor.

Design-wise, the EOS M is pleasing. It’s thin, it’s got a nice profile, it’s not cluttered and it’s simple to use.

Back to the features:

  • Full HD movie mode with Movie Servo AF: this means accurate and noiseless focus tracking of subjects when using the EF-M lenses with the new STM (Stepping Motor) technology.
  • 18 megapixels: this was predictable given that all of Canon’s lower-priced DSLRs are also at the same resolution.
  • DIGIC 5 image processor
  • ISO 100-6400 in movie mode and 100-12800 in photo mode; they’re both expandable to 12800 and 25600, respectively.
  • Hybrid CMOS AF: innovative, but let’s wait and see how it performs in real world conditions; Canon DSLRs have had plenty of focus issues lately, this being just one example.
  • Compatible with full line of EF and EF-S lenses via adapter which preserves all AF and IS functions.
  • 1,040,000 dot, 3-inch LCD with touch AF
  • Scene Intelligent Auto, Creative Filters, Multi Shot Noise Reduction
  • Stereo microphone, manual audio adjustment, wind noise filter
  • Total recording time per scene goes up to 22 minutes

Watch out for the following:

  • A notable MIA among the accessories is a viewfinder, like on the Olympus OM-D EM-5 or their PEN line of mirrorless DSLRs, like the E-P3. That means using the EOS M in glaring sunlight is going to be somewhat frustrating.
  • Stills frame rate is 4.3 fps.
  • Video frame rate at 1080p goes up to 30 fps. I want to see a Canon camera go up to 1080p/60 fps.
  • Computer connectivity is still USB 2.0. This is one area where Canon could have pulled ahead of the pack and gone with USB 3.0.
  • Battery life is average for a mirrorless (about 230 shots or 1.5 hours of video). Given my experience with Canon HDSLRs, I’d say real world battery life when shooting video is more like 30-45 minutes.

Let’s have a look at the accessories. The camera ships with an EF-M 22m pancake lens.

You can also get an EF-M 18-55mm lens for it.

Here’s the mount adapter I mentioned earlier.

And here’s a diminutive speedlite designed for it, the 90EX.

Here’s how the camera looks with the speedlite mounted in the hotshoe.

So, should you get this camera? If you’re already heavily invested in Canon gear and want a small, easy-to-carry camera, the decision is simple. If you aren’t, then there are many models on the market with various differences in design, feature sets and price that may make them more appealing to you than this particular camera. The decision is yours after you look at all of them, and I do encourage you to look at all of them.

If you do end up getting the camera or some of its accessories, I’d appreciate it if you’d use one of the links below:

Images of EOS M courtesy of Canon. 

It’s time to demand reliability from DSLR manufacturers

Update: After sending the camera in for service to a Canon authorized repair facility, it turns out I took somewhere between 75,000 – 100,000 shots with my 5D when the shutter mechanism failed. Still, most of what I wrote below is appropriate commentary on the whole situation. 

When DSLRs (and now HDSLRs) cost thousands of dollars, and the manufacturer makes a promise that the shutter in said DSLR is rated for 100,000 shots or 150,000 shots, I think it should no longer be a promise, but a guarantee, and the manufacturer ought to be responsible for the repair to a DSLR whose shutter failed before its rated number of shots.

Look at cars. Some cars cost little more than a top of the line DSLR, but cars have serious warranties. These days, some cars have 10-year warranties on everything. Historically speaking, even if most cars haven’t had good warranties on everything, they’ve had good warranties on the power train — on the basic stuff that makes them go.

On a DSLR, the shutter is part of the camera’s “powertrain”. Without it, the camera can’t take photographs, and a full-frame DSLR that can’t take photographs is a very expensive paperweight.

It’s high time we demanded that DSLR manufacturers come up with warranties for the more expensive DSLRs, where they’ll guarantee that the shutter and the motherboard (pretty much every part that takes photos and writes those photos to a card) will work for a certain amount of time.

If we don’t, we’ll likely run into the situation I’m in right now, where my Canon EOS 5D’s shutter started to fail at under 50,000 shots. Initially, photos taken at 1/6000 sec or higher (1/8000 sec) would come out black or almost black. Now, months later and at around 52,500 shots, even photos taken at 1/1000 sec are severely underexposed.

Have a look at three photos taken with the 5D. The first two were taken at 1/8000 sec shutter speed a couple of months ago, and the third was taken at 1/1000 sec shutter speed a few days ago.

It’s not right that the shutter has started to fail at half its projected life span of 100,000 shots. And what’s even more improper is Canon USA Support’s reply to me. They told me the shutter’s rated life is not a warranty, not even a promise, but an expectancy (an anticipation if you will).

What that means is they can advertise long shutter lives all they want, but they’re not accountable for actual, real-world results from its customers. It’s irresponsible, and it shouldn’t be allowed. When we pay thousands of dollars for a fancy DSLR, we as customers pay that money with certain expectations in mind. Those expectations entail (among others) a need for durability and reliability.

I propose that a set of benchmarks be set for the entire photography industry, where shutter life is one of the differentiating criteria. Processor and camera motherboard life should be another. Manufacturers would then have to offer warranties on these benchmark criteria. I propose 4 or 5-year warranties on the circuits, and on shutter life, the warranty should go as far as its stated life span. If it’s 100,000 shots, then by Noah, it should be 100,000 shots, end of story.

Is Canon at work on a mirrorless “DSLR”?

Given the popularity of, and interest in mirrorless “DSLRs” like the Sony NEX-5 or NEX-3, Olympus E-P2 or E-PL1, Panasonic GF1 or G2, and the Samsung NX-10, I believe Canon is at work on their version of the “micro-DSLR”, and has been for at least a few months. (Why do I use quotes when I call them DSLRs? See this.)

Another hint of the upcoming launch is the restlessness in the Rebel line of cameras. Perhaps I’m wrong, but I’ve never seen so many new models launched in such a short span of time. It’s probable that Canon wanted to see what features consumers really want in an entry-level DSLR now that video and small size are the new must-haves, what cameras their competitors come up with, then take their time designing an entirely new body for the camera. Keep in mind they’re very entrenched in the classic SLR design, as their EOS line shows. A mirrorless DSLR without a viewfinder, or with a significantly different viewfinder, and a much smaller body, can be a serious challenge for any company.

Here’s what I think (and hope) will be in the new Canon EOS “Elph” (I made the name up, I don’t know what it’ll be called):

A 14 or 16-megapixel APS-C sensor — they’re going to choose less noise at high ISO, and that will mean less resolution, but that’s okay by me. I’m not too happy with the noise levels in the 7D. They might even downgrade the resolution to 12 megapixels, who knows…

High ISO capabilities — up to 12,800 natively, and possibly even up to 102,400 via ISO expansion. They’ll need to do this, because the Sony NEX line has raised the bar.

Fast frame rate — 5 fps, possibly even 7 fps. Again, this is because the NEX cameras have raised the bar. They can go up to 7 fps in burst mode. The mirrorless cameras can do about 3 fps.

14-bit image bit depth — pretty much all DSLRs are either there or going there.

Full HD Video Recording, with AF — it’s going to have to be full 1080p video, because Sony has raised the bar for all cameras in this category. I do hope though that Canon will make it 1080p, not 1080i, at selectable frame rates. AF is going to be tricky but will need to be implemented. Canon will have a choice of using the current USM AF built into its lenses, which can be slow, or build a new line of lenses, like Sony did for its NEX line, with fast, quiet AF that can’t be picked up by the microphone. I do hope we won’t have to invest in new lenses.

New lenses? This is possible, in which case they’ll be smaller and lighter, but my guess is Canon will either modify the mount or put out an adapter that will allow us to fully use existing EF or EF-S lenses.

Same 19-point AF system as in the 7D — I honestly hope it’s not the same old 9-point AF system used in the Rebel line and in my 1st gen 5D and the 5D Mark II, because it seems to be troublesome in cameras with higher resolutions.

In-camera panorama stitching — Canon, please put this in! I was blown away by Sony’s Sweep Panorama feature.

In-camera HDR — yes, HDR is overrated and I can’t stand most HDR photographs, but when used judiciously and for the right scenes, HDR can help you can get a properly exposed photograph without blown areas.

Optical viewfinder — I know I just said a mirrorless DSLR won’t have an optical viewfinder, but think how cool it would be if Canon could somehow fit a great pentaprism inside a mirrorless body!

Better dust reductionsome people seem to be having trouble with the dust reduction system in the 5D Mark II. Perhaps this warrants a closer look from Canon. I’m sure there are ways to improve things, especially in a camera that will have no mirror, and where the sensor will be exposed to the open air during every lens change.

SDHC, not CF cards — I would have loved to see Canon adopt SDHC cards for the 7D. SDHC cards are smaller and less expensive than CF cards, so why keep using CF cards?

Tiltable LCD — the Sony NEX line has them, the Canon G11 has it, so why shouldn’t this new camera have it as well?

External microphone input — this is a must, as the in-camera microphone is never enough for quality video sound.

Those are my thoughts. What do you think? Don’t ask me how it’ll look though. I don’t know, and I’d like to be pleasantly surprised when I see it. I’d like it to be flatter and smaller than a Rebel, but with a good grip, and a good selection of physical controls. It doesn’t have to be too light, but it should be light enough and sturdy enough so that it’s easily carried anywhere.

Camera preview: Canon PowerShot SD780 IS

I had the chance to look at the Canon PowerShot SD780 IS Digital Elph camera recently, and was impressed by the beauty of its design, its diminutive size, and its features. This camera is truly small. Being used to holding DSLRs, holding this camera in my hand was an unusual experience for me. It’s so small, I thought I might drop it or break its buttons when I pressed them. But that’s just an initial illusion. It works fine, it’s sturdy, and its matte, non-slip finish means you won’t easily drop, unless you’re Mr. Butterfingers.

I’ve always liked Canon’s Elph line. I owned their 1st gen Elph camera, which recorded images to APS film, and I still have it, though I don’t use it any more. What I like about this camera is how the Elph legacy, combined with modern technology and design cues, all comes together to create a truly wonderful little camera. This camera is a stunner. The logo, the lettering, the buttons, the lens and all of its other building blocks form a beautiful whole where everything falls into place.

And how could I not be impressed by its features as well?

  • 12.1 Megapixel Resolution
  • 3x Optical Zoom Lens
  • Optical Image Stabilizer Technology
  • DIGIC 4 Processor with iSAPS scene-recognition technology
  • Face Detection Technology
  • Face Self-Timer
  • Advanced Red-eye Correction
  • Intelligent Contrast Correction
  • High ISO Sensitivity (up to 3200 ISO)
  • HD Video Recording (1280 x 720 @ 30 fps) with HD output through mini-HDMI connector
  • 20 Shooting Modes and My Colors Photo Effects
  • Smart Auto Mode
  • High-Resolution 2.5″ PureColor II LCD

The only things that bothered me somewhat were the 3x Zoom and the maximum f/3.3 aperture. While the 3x zoom has been standard on the Elph cameras from the start, I’d like to see a 5x zoom already. It would be a helpful feature for many situations. The aperture could also be f/2.8 or who knows, maybe even f/2.2 or f/2.0. I realize the physics of it might get tricky given the camera’s diminutive size, but I’d like to challenge the Canon engineers to do it. It would help greatly in low light conditions, and would add extra bokeh to portraits and macro photographs.

I’d have loved to test out the camera’s HD video feature, as I’ve been looking for a small HD camera, but I didn’t get the chance. At any rate, I was very impressed to see a camera of that size offer HD video. That in itself is an achievement, given that it’s already got a ton of other circuitry crammed in that very limited space. Ideally, one hopes the quality of the HD video is good, without banding or compression artifacts, like that of the HD video from other digital cameras. If anyone’s used this feature on the SD780, please do let me know how good it is.

The SD780 IS comes with all the accessories you see above. You can get a good idea of how small this camera really is by having a look at the charger for its battery, which is a good deal longer and thicker than the camera itself.

The Canon PowerShot SD780 IS is available for purchase from B&H Photo and Amazon. (Amazon is currently selling it for $199, which is a pretty good deal.)

Photos used courtesy of Canon.

Lens comparison: EF 50mm f/1.4 Prime vs EF 50mm f/1.8 Prime

This is a short, side-by-side video comparison of the two affordable EF 50mm lenses from Canon: the 50mm f/1.4 and f/1.8 lenses. I had them both, set them on a table, and compared them to each other, looking at their weight, size, lenses, and handling. You might find this interesting if you’re into photography. My conclusion was that both are great, but if you haven’t got the money for the f/1.4 lens (and I’m not even going to mention the f/1.2 lens, because that’s out of my budget), then get the f/1.8 lens, it’s a great bargain for the price.

You can see the video on blip.tv or on YouTube. Believe it or not, I shot this review back in November of 2007 and only got around to posting it now. I’ve got quite a backlog in terms of processing and editing some of my media…

I used the 50mm f/1.4 lens extensively. I have almost 11,000 photos in my library taken with it. I used it to take landscapes while in the Austrian Alps, and even though I complained about it afterward, it’s still my go-to lens for lots of tasks such as portraits, still life, night shots and more. Here are just a few photos taken with it.

Windows

These two 50mm lenses are available for purchase from Amazon or B&H Photo: