Google Pixel phones were the first to offer an astrophotography mode, letting you take hitherto unprecedented images of the night sky. One notable downside is that you couldn’t actually activate this mode manually, but that’s changing this week.

The Google News Telegram channel spotted the ability to manually activate astrophotography mode in version 9.5.118 of the Pixel Camera app. Unfortunately, this update isn’t available on the Google Play Store just yet, but you can grab it via APKMirror as a split APK bundle. If you’re not experienced with sideloading then we suggest waiting for the updated app to arrive on the Play Store.

Nevertheless, activating astrophotography mode in the updated Pixel Camera app is pretty easy:

1. Launch the camera app and swipe to the Night Sight mode.
2. Tap the duration icon and then adjust the resulting slider from “auto” to the new “Astro” option (to the right of “Max”).
3. You’ll then have a five-second timer by default before the astrophotography mode starts capturing exposures.

In other words, you can now activate astro mode via the slider normally used to adjust the capture time for Night Sight images.

The five-second timer can be adjusted (to three seconds or 10 seconds) or even disabled by visiting the Night Sight settings page. It’s also worth noting that the old method of activating astro mode is still available. That means launching the Night Sight mode in the Pixel Camera app, placing your phone on a stable surface or tripod, and waiting for the shutter button to display a star icon.

We’re glad Google now offers a way to manually activate astrophotography mode, even if it’s still not a discrete mode in the Pixel Camera app. Nevertheless, I’d definitely like to see a handheld astro mode in the near future as this is already a thing on some Chinese flagship phones.

Wildlife photographer Carl Bovis has an incredible talent for capturing stunning images of birds. But while he was wandering with his camera near his Bridgwater, Somerset home, he had a rather strange sighting on the road.

"Being unable to investigate what it was due to it being on private land and the setting sun being in his eyes, the 53-year-old says he spent a couple of minutes watching it to see if it would move before taking a single photo of it and heading home," reports BristoLive. — Read the rest

The post Wildlife photographer snaps image of mysterious hairy beast that turned out to be something even odder appeared first on Boing Boing.

We heard our first One UI 6.1.1 leaks earlier this week, and it seems that Samsung is planning to bring plenty more AI features with this software. Now, a long-time leaker has revealed one more apparent AI feature.

Ice Universe claimed on X that the upcoming Samsung One UI 6.1.1 update will include an AI feature for portrait mode. More specifically, the tipster claims that “you can use AI to paint the portrait photos you take into various styles.”

It’s unclear whether this will be a highly customizable feature (e.g. using prompts), a handful of pre-defined on-device styles akin to filters, or something different altogether. We hope it’s not a few predefined styles as filters aren’t anything new.

In any event, this wouldn’t be the first time we see generative AI used for portraits on phones. Chinese brand vivo has offered generative portrait functionality on its high-end phones (seen below), allowing you to change the season in your portrait images. Your captured images are uploaded to vivo’s servers for processing, and the results aren’t convincing at all.

More recently, Xiaomi marketed an AI Portrait feature on the Xiaomi 14 series, which allows you to place yourself in a variety of scenes based on prompts. This doesn’t work locally, though, and requires you to feed previous photos of yourself as a reference so the feature can learn what you look like. This also doesn’t specifically work with portrait mode.

Either way, the aforementioned attempts to fuse generative AI and portraits have generally been very gimmicky. So our expectations are low for Samsung’s take on this in One UI 6.1.1, but we hope to be proven wrong.

At Apple's WWDC presentation this year, the company said it was working with Blackmagic Design to make immersive videos for the Vision Pro easier to work with and capture. Turns out Blackmagic is currently developing a camera specifically to capture immersive films for Apple's mixed-reality headset. The digital cinema company and manufacturer announced the Blackmagic URSA Cine Immersive camera on X/Twitter and made sure to add a few photos to give us a glimpse of what it would look like. 

It didn't share a lot of details about the device other than it's "designed to capture content for Apple Vision Pro" with 8,160 x 7,200 resolution per eye and "16 stops of dynamic range for 90fps stereoscopic 3D immersive cinema content." Based on the images Blackmagic attached to its post, users will even be able to strap the camera to a drone for aerial videos.

The company is hoping to release the camera sometime later this year, though it didn't say how much the device would cost. In the past, Blackmagic released a camera that can shoot in 12K for $9,995, which is much lower than what other comparable models cost. Last year, it unveiled its first full-frame model that can shoot video in 6K for $2,595. 

Blackmagic Design

Apple showed off the new lens Canon is working on for its R7 camera at WWDC, as well. The 7.8mm f/4 dedicated spatial lens is also meant to capture content for the Apple Vision Pro. While the brand has previously released lenses for virtual reality, it said that none of its current cameras are fast enough to offer video that matches Apple's headset. Like Blackmagic's announcement, Canon's was light on details, though we'll most likely hear more information the nearer we get to the lens' release date. 

Catch up here for all the news out of Apple's WWDC 2024.

Acer has unveiled the new SpatialLabs Eyes Stereo Camera specifically for those who want to take 3D photos and videos. Users can not only use it to capture 3D content, but also to livestream in 3D on YouTube and other platforms, as well as to make 3D video calls on Teams, Zoom and Google Meet. The company describes the camera as "compact" and "pocket-sized," with dimensions measuring 4 x 2.6 x 0.9 inches.

It has a resolution of 8 megapixels per eye and a built-in selfie mirror encased in a weather-proof shell. The more casual users can take advantage of its Electronic Image Stabilization (EIS) feature, along with its auto and touch focus capabilities. But experienced photographers can customize their output as much as they want to in manual mode, which will allow them to adjust the camera's ISO, white balance and shutter speed settings. 

The camera's 3D livestreaming feature will be enabled by version 3.0 of Acer's SpatialLabs Player, while high-resolution 3D video conferencing will be made possible through the company's SpatialLabs video call widget. It will, of course, be compatible with Acer's range of SpatialLabs devices, including laptops with glasses-free 3D screens. But you can view 3D content captured by the device even on other companies' AR or VR headsets and 3D projectors. 

The Acer SpatialLabs Eyes Stereo Camera will be available in the third quarter of the year with prices starting at $549 or €549 in the US and in Europe, respectively.

Acer

Sony used to be a fairly major player in the smartphone space, but its offerings never quite made a splash in the US. Despite that, the company has been pumping out yearly refreshes of its Xperia line of smartphones and the just-announced Xperia 1 VI looks like the perfect device for both amateur and professional photographers. Sony, after all, is no slouch when it comes to cameras.

The sixth-generation of the company’s flagship smartphone is filled with so many camera-centric features that it could actually lure people away from rival iPhone and Pixel devices. There’s a true optical zoom, AI-assisted autofocus and a telephoto camera for snapping macro shots.

This breaks down to three cameras on the back, in the form of a 24mm main camera with a 48-megapixel Sony Exmor T sensor, a 16mm ultrawide and the aforementioned 85-170mm variable zoom telephoto camera. That last one provides 3.5x to 7.1x magnification when compared to the main camera. The ladybug in your yard is begging for its closeup.

As for that AI-assisted autofocus, Sony touts a technology called “human pose estimation” that can recognize a person’s body and head position to provide the perfect focus. The camera system also supports filming video in 4K HDR at 120fps. All of these features work together within Sony’s new unified camera app, so people don’t have to constantly jump between different software to get the job done.

Of course, this is a smartphone and not just a bunch of cameras attached to a rectangle. The Xperia 1 VI boasts the latest Snapdragon 8 Gen 3 chipset, 12GB of RAM and a choice between 256GB and 512GB of storage. Sony says the integrated 5,000mAh battery should allow for up to two days of use before requiring a charge. To that end, the device supports both 15W wireless charging and wireless battery sharing to other devices.

There is an OLED display which is nice, but it’s 2220 x 1080 and the Xperia V shipped with a 4K screen. The aspect ratio gets a hit here too, downsizing from 21:9 to 19.5:9. This display does now offer a variable refresh rate between 1Hz to 120Hz, however, and it can achieve a 50 percent higher peak brightness when compared to last year’s model. Also, 4K resolution on a phone screen is kind of unnecessary and this thing can shoot in 4K, which is what really matters.

The Sony Xperia 1 VI is available for preorders now in the UK, starting at the jaw-dropping asking price of $1,640 in US dollars. There’s some more bad news for US consumers. Unlike previous versions, the company has no current plans to bring this phone stateside.

The Vivo X100 Ultra is set to launch tomorrow, May 13. Just a day before the official unveiling, we have a set of concert images captured by ...

The post Vivo X100 Ultra Showcased to be Better Than Samsung Galaxy S24 Ultra for Concert Shots appeared first on Gizchina.com.

I hate the eye strain that often comes with peering through a telescope at the night sky—I’d rather let a camera capture the scene. But I’m too frugal to sink thousands of dollars into high-quality astrophotography gear. The Goldilocks solution for me is something that goes by the name of electronically assisted astronomy, or EAA.

EAA occupies a middle ground in amateur astronomy: more involved than gazing through binoculars or a telescope, but not as complicated as using specialized cameras, expensive telescopes, and motorized tracking mounts. I set about exploring how far I could get doing EAA on a limited budget.

Electronically-assisted-astronomy photographs captured with my rig: the moon [top], the sun [middle], and the Orion Nebula [bottom] David Schneider

First, I purchased a used Canon T6 DSLR on eBay. Because it had a damaged LCD viewscreen and came without a lens, it cost just US $100. Next, rather than trying to marry this camera to a telescope, I decided to get a telephoto lens: Back to eBay for a 40-year-old Nikon 500-mm F/8 “mirror” telephoto lens for $125. This lens combines mirrors and lenses to create a folded optical path. So even though the focal length of this telephoto is a whopping 50 centimeters, the lens itself is only about 15 cm long. A $20 adapter makes it work with the Canon.

The Nikon lens lacks a diaphragm to adjust its aperture and hence its depth of field. Its optical geometry makes things that are out of focus resemble doughnuts. And it can’t be autofocused. But these shortcomings aren’t drawbacks for astrophotography. And the lens has the big advantage that it can be focused beyond infinity. This allows you to adjust the focus on distant objects accurately, even if the lens expands and contracts with changing temperatures.

Getting the focus right is one of the bugaboos of using a telephoto lens for astrophotography, because the focus on such lenses is touchy and easily gets knocked off kilter. To avoid that, I built something (based on a design I found in an online astronomy forum) that clamps to the focus ring and allows precise adjustments using a small knob.

My next purchase was a modified gun sight to make it easier to aim the camera. The version I bought (for $30 on Amazon) included an adapter that let me mount it to my camera’s hot shoe. You’ll also need a tripod, but you can purchase an adequate one for less than $30.

Getting the focus right is one of the bugaboos of using a telephoto lens

The only other hardware you need is a laptop. On my Windows machine, I installed four free programs: Canon’s EOS Utility (which allows me to control the camera and download images directly), Canon’s Digital Photo Professional (for managing the camera’s RAW format image files), the GNU Image Manipulation Program (GIMP) photo editor, and a program called Deep Sky Stacker, which lets me combine short-exposure images to enhance the results without having Earth’s rotation ruin things.

It was time to get started. But focusing on astronomical objects is harder than you might think. The obvious strategy is to put the camera in “live view” mode, aim it at Jupiter or a bright star, and then adjust the focus until the object is as small as possible. But it can still be hard to know when you’ve hit the mark. I got a big assist from what’s known as a Bahtinov mask, a screen with angled slats you temporarily stick in front of the lens to create a diffraction pattern that guides focusing.

Stacking software takes a series of images of the sky, compensates for the motion of the stars, and combines the images to simulate long exposures without blurring.

After getting some good shots of the moon, I turned to another easy target: the sun. That required a solar filter, of course. I purchased one for $9 , which I cut into a circle and glued to a candy tin from which I had cut out the bottom. My tin is of a size that slips perfectly over my lens. With this filter, I was able to take nice images of sunspots. The challenge again was focusing, which required trial and error, because strategies used for stars and planets don’t work for the sun.

With focusing down, the next hurdle was to image a deep-sky object, or DSO—star clusters, galaxies, and nebulae. To image these dim objects really well requires a tracking mount, which turns the camera so that you can take long exposures without blurring from the motion of the Earth. But I wanted to see what I could do without a tracker.

I first needed to figure out how long of an exposure was possible with my fixed camera. A common rule of thumb is to take the focal length of your telescope in millimeters and divide by 500 to give you the maximum exposure duration in seconds. For my setup, that would be 1 second. A more sophisticated approach, called the NPF rule, factors in additional details regarding your imaging sensor. Using an online NPF-rule calculator gave me a slightly lower number: 0.8 seconds. To be even more conservative, I used 0.6-second exposures.

My first DSO target was the Orion Nebula, of which I shot 100 images from my suburban driveway. No doubt, I would have done better from a darker spot. I was mindful, though, to acquire calibration frames—“flats” and “darks” and “bias images”—which are used to compensate for imperfections in the imaging system. Darks and bias images are easy enough to obtain by leaving the lens cap on. Taking flats, however, requires an even, diffuse light source. For that I used a $17 A5-size LED tracing pad placed on a white T-shirt covering the lens.

With all these images in hand, I fired up the Deep Sky Stacker program and put it to work. The resultant stack didn’t look promising, but postprocessing in GIMP turned it into a surprisingly detailed rendering of the Orion Nebula. It doesn’t compare, of course, with what somebody can do with a better gear. But it does show the kinds of fascinating images you can generate with some free software, an ordinary DSLR, and a vintage telephoto lens pointed at the right spot.

This article appears in the May 2024 print issue as “Electronically Assisted Astronomy.”

Many smartphone brands have their own camera testing setups, allowing them to fine-tune their photo and video experience. We seldom get a close look at these facilities, though, but Google has now peeled the curtain back on its lab setup.

CNET was allowed to tour Google’s camera testing facility for its Pixel phones, and the tech giant opted for a more practical approach to its camera sets. The company showed off cafe and living room sets which were used to test the Night Sight Video/Video Boost features on the Pixel 8 Pro versus the Pixel 7 Pro.

Sony is so closely associated with full-frame mirrorless cameras that it’s easy to forget it also sells the A6000 APS-C lineup — particularly since the last one, the A6600, came out five long years ago in 2019. The flagship A6700 finally arrived last year, though, with a feature list that appeared to be worth the wait.

It’s the same price the A6600 was at launch four years ago, but addresses its predecessor’s main flaws by boosting resolution a bit and reducing rolling shutter. At the same time, it’s been likened to a mini-FX30 cinema camera as it has the same sensor and video capabilities.

I’ve never been a big fan of Sony’s A6000 series. But now that the A6700 has been out a while, I was keen to see if it lived up to some of the hype and how it compared to rival Canon and Fujifilm models. As you’ll see, it’s mostly good news with just a little bit of bad.

Body and handling

One of the things I’ve disliked about Sony’s APS-C bodies over the years is the usability and looks, especially compared to Fujifilm’s good-looking and easy-to-use models. I wouldn’t call the A6700 beautiful, but at least Sony has rectified the handling part.

The redesigned grip is larger and more comfortable, making it more comfortable to use over a full day. At the same time, Sony added a new control dial on the front, making the camera easier to use in manual or priority modes.

It includes a new dedicated photo, video and S&Q dial, letting you keep settings separate for each. Menus are a big step up too, as the A6700 uses the improved system from recent full-frame models. The only thing missing is a joystick, but the focus point can be adjusted using the d-pad-like dial on the back.

Steve Dent for Engadget

The A6700 is also the first Sony APS-C camera with an articulating display, so it’s better for vloggers than the flip-up display on past models. The relatively low resolution EVF is a weak point as it’s difficult at times to check focus, but it does the job most of the time. .

Another negative is the single card slot, but at least it supports high-speed UHS-II cards. Luckily, it has the same large battery as full-frame models, which gives it an excellent 570 shot CIPA rating.

Other features include microphone and headphone ports (along with support for Sony’s hot shoe audio accessories), a USB-C port for charging and data transfers and an HDMI port. The latter, unfortunately, is of the fiddly and fragile micro variety.

All of that adds up to a 6000-series camera I’d happily use for most types of work. Previously, I found those models not up to the job, especially for video.

Performance

Steve Dent for Engadget

Performance is more of a mixed bag, though. Lossless RAW bursts are possible at up to 11 fps, either in mechanical or electronic shutter modes. That compares to the 15 and 30fps for the similarly priced Canon EOS R7 and 15/20 fps for the Fujifilm X-T5. That’s quite a deficit considering the latter two have much higher resolution sensors.

The A6700 only stores up to 36 compressed RAW frames before the buffer fills, compared to 45 on the A6600 and comparable to rivals. Based strictly on speed, though, the R7 and X-T5 are better action cameras.

Fortunately, the autofocus is superb and that’s arguably more important for a consumer camera. In continuous mode, you’ll get reliable results even with fast moving subjects. And the AI tracking locks onto eyes and faces, ensuring you won’t miss important shots of rowdy kids, soccer games and more.

Steve Dent for Engadget

It also works with airplanes, animals, birds, cars or trains and insects. Unlike Canon’s auto system, though, you have to tell the A6700 exactly what you’re tracking. Once you’ve set it up the way you want, though, it’s a touch more reliable than Canon’s system, and significantly better than the X-T5..

The five-axis in-body stabilization is good but not great, offering 5 stops compared to 8 on the EOS R7 and 7 on the Fuji X-T5. Still, I was able to take sharp photos down to about an eighth of a second.

Rolling shutter was my main complaint with the A6600, but it’s now much improved and about as good as you get without a stacked sensor. It’s still present, though, so you’ll want to use the mechanical shutter for fast-moving subjects like propellers and trains.

Image Quality

With a new 26-megapixel sensor, The A6700 captures more detail than past 24-megapixel models. As mentioned, though, it’s lacking compared to the 32.5-megapixel Canon R7 and 40-megapixel X-T5.

Colors are mostly spot-on, but I still prefer Canon’s skin tones. JPEGs look good out of the camera, if a touch over-sharpened. With 14-bit RAW uncompressed files, I found plenty of room to adjust and tweak images, dialing down bright areas or adding detail to shadows. Keep in mind that when shooting bursts, though, RAW files are captured with only 12-bits of color fidelity.

There is a benefit to the lower resolution. The A6700 is better in low light than rivals, with noise well controlled up to ISO 6400. Images are usable up to ISO 12800, but anything beyond up to the ISO 102,400 limit is for emergency use only. It’s best to emphasize shadow exposure at high ISOs, as lifting those even a couple of stops creates excessive noise.

Video

The A6700 is so far above its predecessor for video that it’s useless to compare them. Rather, think of it as a cheaper, smaller FX30 cinema camera with the same image quality. The main difference is that the A6700 doesn’t have the same cooling capability, as I’ll discuss shortly.

It subsamples the full sensor width for 4K at 30 and 60 fps, so video is sharper than the X-T5 or R7. And the A6700 beats both of those models by having a 4K 120fps mode, though it’s cropped significantly at 1.58x.

Due to the relatively small body and lack of fans, you’ll need to be wary of overheating at 120p, as it’ll cut out after 20-30 minutes. For indoor shooting, you can generally shoot at up to 4K 60p without any stoppages with the “auto power temp” setting on “high.” Outside on a hot day, however, you may hit the limits and need to wait for the camera to cool down.

Like the FX30, you can shoot all video modes with 10-bit with S-Log3 capture. You can also load your own LUTs either to make log footage easier to monitor, or bake it into the final image.

Steve Dent for Engadget

Rolling shutter is still present, so you’ll still need to be careful with whip pans, fast subjects and the like. However, it’s far less bothersome than on past Sony crop sensor models.

It has a video feature that’s actually lacking on the FX3, namely auto-framing. That’s handy for vloggers as it can crop in and follow them as they move around the frame — with less quality loss than the ZV-E1 (this feature is finicky on the A6700 so be sure to test it first). It also offers focus compensation that digitally eliminates breathing, and again, this extra resolution compared to the ZV-E1 results in a sharper result.

Stabilization for video isn’t quite as good as the ZV-E1, though. The active mode is fine for handheld use and slow pans, but doesn’t do a lot to smooth out footsteps, and adds a 1.13x crop.

As for video quality, you’re seeing the same accurate colors and solid low-light capability as with photos. The 10-bit log options allow for plenty of flexibility in post, especially with contrasty images.

Wrap-up

Steve Dent for Engadget

The A6700 is easily Sony’s best APS-C camera yet, excelling at both photos and video, and offering much better handling. Despite being far more capable than the A6600, it carries the same $1,400 price.

As a photo camera, it’s slower than its main competition, the Canon R7 and Fujifilm X-T5, so those models are better for shooting action. Sony’s autofocus is slightly better though, and faster bursts are worthless if photos aren’t sharp.

As a video camera, though, it beats its main rivals across the board. All told, it’s a great option for content creators or hybrid shooters who favor video but do some photography. If that’s you, I’d highly recommend it.

If you’re a content creator or YouTuber, camera companies increasingly want your business. Last year was no exception, with several new vlogging-specific models released by Canon, Sony, DJI and others. That means there are now over a dozen on sale, alongside regular mirrorless cameras that also do the job well.

Models specifically designed for vlogging include Sony’s new ZV-E1 full-frame mirrorless that launched last year, DJI’s Osmo Pocket 3 or Canon’s compact PowerShot V10. Others, like the new Panasonic G9 II and last year’s Canon EOS R6 II are hybrid mirrorless cameras that offer vlogging as part of a larger toolset.

All of them have certain things in common, like flip-around screens, face- and/or eye-detect autofocus and stabilization. Prices, features and quality can vary widely, though. To that end, we’ve updated our guide with all the latest vlogging cameras designed for novice to professional creators, in all price ranges. Engadget has tested all of these to give you the best possible recommendations.

Factors to consider before buying a vlogging camera

Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It must be good for filming yourself as well as other “B-roll” footage that helps tell your story. The biggest requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.

Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some (notably Canon and Sony) do it better than others.

If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of its limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.

4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.

Video quality is another important consideration, especially for skin tones. Good light sensitivity helps for night shooting, concerts and so on, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when it’s time to edit the footage.

Don’t neglect audio either — if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.

You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.

The best action and portable cameras

If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.

The best compact vlogging cameras

Compact cameras are a step up from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, they’re the best option.

The best mirrorless/DSLR vlogging cameras

This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, more complexity and higher prices.

Fujifilm's X100V was the toy to have over the last couple of years (thanks, TikTok) and the company has now released its successor, the 40.2-megapixel X100 VI, with large improvements across the board. While keeping the same retro form, it offers much faster shooting speeds, in-body stabilization, 6.2K 30p video and more.

The X100VI looks identical to the previous model, with the same styling and control positions. The series was conceived as a street photography camera, borrowing a lot of styling cues from Leica's famous rangefinder cameras. As such, it doesn't have the world's great ergonomics, but is light at 521 grams, discreet for shooting and can slide into a jacket pocket.

Fujifilm

Fujifilm elected to go with the same 40.2-megapixel (MP) APS-C sensor as the much bigger X-H2, significantly boosting resolution over the X100V. I think that's a wise choice as it gives the camera — which has a wide-angle fixed 23mmm f/2.0 lens (35mm full-frame equivalent) — more cropping options. The price for that is likely a small drop in low-light sensitivity.

Another big new feature on the X100VI is built-in 5-axis stabilization with up to 6 stops of shake reduction. Given the X100VI's small body, it's an unexpected but welcome feature, and will be a big help to street photographers taking candid shots on the fly. 

The X100V keeps the same 3.69-million dot hybrid optical viewfinder and 1.62-million dot LCD display, but the latter now tilts downward an extra 15 degrees to make shooting from above easier. It retains the same battery as before (CIPA rated for 300 shots), and unfortunately, the same slow UHS-I card slot. 

Fujifilm

The X100VI still shoots at 11fps with the mechanical shutter and 20fps in electronic mode, but autofocus is quicker and more capable, according to Fujifilm. It now offers the company's latest tracking and face/eye detection, along with animal/vehicle and other types of subject detection. 

Image quality should be improved as well with the extra resolution and a lower native 125 ISO. And since a lot of the newfound social media popularity of this camera is based on the film simulation modes, the camera comes with 20 built-in, including a new one called Reala Ace, designed to offer "faithful color reproduction and contrast tonality." 

Fujifilm

Finally, one usually doesn't think of video when it comes to this series, but the X100VI is surprisingly capable for a tiny compact. It can shoot 6.2K video at up to 30fps, 4K at 60 fps and 1080p at 240fps. You also get 10-bit F-log and F-Log2 recording, shockingly good for a small, photo-centric camera with a fixed lens. The only downside is relatively low data rates (200Mbps max) due to the slow cards, but you can capture ProRes to an external recorder.

Fujifilm's X100VI is now on pre-order for $1,600 in silver or black, with shipping slated for early March 2024. The company is also offering a special edition version "engraved with the corporate brand logo from Fujifilm's founding in 1934" for $2,000. It has vowed to reduce the long lead times of the previous model by manufacturing it in China like other recent models. 

I recently found "Happenstantial Art," a Facebook group where people post photographs of the unintentional artistic beauty they happen upon in their everyday lives—in nature, urban settings, at home, and more. Sometimes I can identity what's in the photos—like the recent image someone posted of a sweet potato sitting in a window sill—but more often the images are more macro or abstract, so that all you can really see are vibrant colors, shapes, materials, and textures. — Read the rest

The post "Happenstantial Art" captures the beauty and artistry in everyday life appeared first on Boing Boing.

If you’re a content creator or YouTuber, camera companies increasingly want your business. Last year was no exception, with several new vlogging-specific models released by Canon, Sony, DJI and others. That means there are now over a dozen on sale, alongside regular mirrorless cameras that also do the job well.

Models specifically designed for vlogging include Sony’s new ZV-E1 full-frame mirrorless that launched last year, DJI’s Osmo Pocket 3 or Canon’s compact PowerShot V10. Others, like the new Panasonic G9 II and last year’s Canon EOS R6 II are hybrid mirrorless cameras that offer vlogging as part of a larger toolset.

All of them have certain things in common, like flip-around screens, face- and/or eye-detect autofocus and stabilization. Prices, features and quality can vary widely, though. To that end, we’ve updated our guide with all the latest vlogging cameras designed for novice to professional creators, in all price ranges. Engadget has tested all of these to give you the best possible recommendations.

Factors to consider before buying a vlogging camera

Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It must be good for filming yourself as well as other “B-roll” footage that helps tell your story. The biggest requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.

Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some (notably Canon and Sony) do it better than others.

If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of its limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.

4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.

Video quality is another important consideration, especially for skin tones. Good light sensitivity helps for night shooting, concerts and so on, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when it’s time to edit the footage.

Don’t neglect audio either — if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.

You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.

The best action and portable cameras

If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.

The best compact vlogging cameras

Compact cameras are a step up from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, they’re the best option.

The best mirrorless/DSLR vlogging cameras

This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, more complexity and higher prices.

Fujifilm's X100V was the toy to have over the last couple of years (thanks, TikTok) and the company has now released its successor, the 40.2-megapixel X100 VI, with large improvements across the board. While keeping the same retro form, it offers much faster shooting speeds, in-body stabilization, 6.2K 30p video and more.

The X100VI looks identical to the previous model, with the same styling and control positions. The series was conceived as a street photography camera, borrowing a lot of styling cues from Leica's famous rangefinder cameras. As such, it doesn't have the world's great ergonomics, but is light at 521 grams, discreet for shooting and can slide into a jacket pocket.

Fujifilm

Fujifilm elected to go with the same 40.2-megapixel (MP) APS-C sensor as the much bigger X-H2, significantly boosting resolution over the X100V. I think that's a wise choice as it gives the camera — which has a wide-angle fixed 23mmm f/2.0 lens (35mm full-frame equivalent) — more cropping options. The price for that is likely a small drop in low-light sensitivity.

Another big new feature on the X100VI is built-in 5-axis stabilization with up to 6 stops of shake reduction. Given the X100VI's small body, it's an unexpected but welcome feature, and will be a big help to street photographers taking candid shots on the fly. 

The X100V keeps the same 3.69-million dot hybrid optical viewfinder and 1.62-million dot LCD display, but the latter now tilts downward an extra 15 degrees to make shooting from above easier. It retains the same battery as before (CIPA rated for 300 shots), and unfortunately, the same slow UHS-I card slot. 

Fujifilm

The X100VI still shoots at 11fps with the mechanical shutter and 20fps in electronic mode, but autofocus is quicker and more capable, according to Fujifilm. It now offers the company's latest tracking and face/eye detection, along with animal/vehicle and other types of subject detection. 

Image quality should be improved as well with the extra resolution and a lower native 125 ISO. And since a lot of the newfound social media popularity of this camera is based on the film simulation modes, the camera comes with 20 built-in, including a new one called Reala Ace, designed to offer "faithful color reproduction and contrast tonality." 

Fujifilm

Finally, one usually doesn't think of video when it comes to this series, but the X100VI is surprisingly capable for a tiny compact. It can shoot 6.2K video at up to 30fps, 4K at 60 fps and 1080p at 240fps. You also get 10-bit F-log and F-Log2 recording, shockingly good for a small, photo-centric camera with a fixed lens. The only downside is relatively low data rates (200Mbps max) due to the slow cards, but you can capture ProRes to an external recorder.

Fujifilm's X100VI is now on pre-order for $1,600 in silver or black, with shipping slated for early March 2024. The company is also offering a special edition version "engraved with the corporate brand logo from Fujifilm's founding in 1934" for $2,000. It has vowed to reduce the long lead times of the previous model by manufacturing it in China like other recent models. 

After letting rival camera companies catch up for the last few years, Sony laid down a gauntlet with the 24.6-megapixel A9 III. It’s the world’s first mirrorless camera with a global shutter, a much-awaited holy grail feature. It completely eliminates rolling shutter distortion found on CMOS cameras by reading the entire sensor at once. It also boosts speed and removes the need for a mechanical shutter.

As a pioneering product, it’s not cheap at $6,000, but you can expect the technology to come down in price in the future. And there is a downside: Image quality is reduced compared to regular cameras, due to the nature of a global shutter.

Is it worth trading off image quality for extra speed and lack of distortion, especially compared to stacked sensor cameras that are already pretty quick? To find out, me and my pro photographer friends put a final production model through a variety of shooting scenarios.

Body and handling

The A9 III is Sony’s best handling-camera yet, borrowing all the latest features of recent models like the A7R V. It’s very light for a full-frame camera at just 617 grams. And the redesigned grip is more comfortable and secure, which is a big help to working pros, especially with heavy lenses. By comparison, Sony's A1 can be hard on one’s hands over a full day, according to my photographer pals.

There are three top control dials, making it easy to find primary settings in fully manual mode. It has a pair of dual dials, with one for video, photos and S&Q plus shooting modes, and the other controlling burst along with autofocus. You also get a rear joystick, control dial and no less than 5 custom buttons.

With everything well-placed, it’s a cinch to shoot manually. When you do need to delve into the menus, those are also well laid out. Settings are divided logically into categories, while the home menu shows key options (shutter speed, white balance, etc.) at a glance. Everything can be customized, and you can back up your settings to a memory card.

The high-resolution two million dot rear display is of course touch sensitive for focus and menu control. It flips out and tilts up or down to please both photographers and creators. The viewfinder is the best on any camera, with 9.44 million dots at 120Hz, or half that at 240Hz. That level of sharpness makes it easy to check focus and colors. Again, this is Sony flexing its tech muscles as the primary camera EVF supplier.

Battery life is a solid 500 shots, but you can double that with a new $400 vertical grip, which also gives you a better hold of the camera. It has a dual-card slot setup with both SD UHS II and CFexpress. As usual with Sony, the latter is the slower Type A variety, though. Those are less than half the speed of CFexpress type A, but their smaller size allows Sony to do the dual slot setup.

Other key features include headphone and mic ports, with the option to add Sony brand microphones or audio accessories to the hotshoe. There’s also a full-sized HDMI port, USB-C charging port, ethernet, live-streaming capability and more.

Performance

With the global shutter, dual Bionz processors and the same dedicated AI processor found on the A7R V,, Sony’s A9 III is the fastest full-frame camera in the world. Compressed RAW bursts can be shot at an incredible 120 fps with autofocus and auto-exposure, or you can dial that down to 60 fps or 30 fps.

Steve Dent for Engadget

A big caveat is that the 120 fps mode only works with supported Sony lenses, while third-party lenses are all limited to 15 fps. Hopefully the company will address that in a future firmware update.

The buffer holds 200 RAW frames, so it fills up in less than two seconds at maximum speed. It takes longer to clear the buffer than it should due to the CFexpress Type A cards. If you use SD UHS II cards instead, it takes about twice as long to clear.

In any case, shooting at 120 fps is major overkill most of the time unless you like wading through thousands of photos later on. Sony does have a solution, though. You can shoot at, say, a still-very-fast 30 fps, then press the C5 button to enable the top speed at key moments. That way, you’ll get the shot you want without wasting frames.

The A9 III is also the first Sony camera to use a pre-capture mode that saves a second of photos when you half-press the shutter button. After you fully press it, those photos are saved along with any taken after.

Nathanael Charpentier

Your photos will usually be sharp, too. The 759 phase-detect focus points allow for extremely rapid and accurate autofocus in most situations. For regular continuous AF, it can keep up with even the fastest action.

The AI-powered subject detection shines too. Face tracking works with subjects farther away and it follows someone tenaciously, even when they duck behind obstacles. Human tracking is fast and fluid, and you can easily see if it’s locked onto eyes, face or body.

It can detect birds, animals (or both), along with insects, cars and trains. You can also select any distinctive object and the system will usually track it reliably.

The bottom line is that it rarely misses focus, so it’s great for professional sports, wildlife, weddings and more. Of course it’s not infallible and can mix up subjects, but is better than any camera I’ve tried to date.

Nathanael Charpentier

The A9 III has no need for a mechanical shutter because there’s no rolling shutter distortion, meaning you can shoot in complete silence at all times. With that, it’s perfect for sports like golf, as you can shoot a player in mid-swing without disturbing them, and a club in motion won’t be distorted.

It also allows for extremely fast shutter speeds up to 1/80,000th and it can sync with supported flashes all the way up to that speed. It also eliminates the flicker and banding from venue lights, another big aid for sports photographers.

Sony has also improved its in-body stabilization significantly, boosting it to 8 stops with supported lenses. That allows shots down to a quarter second or less, matching Canon’s EOS R3 and besting the Nikon Z9 and Sony’s own A1.

Image quality

As mentioned, the primary issue with this camera is image quality. So is how much does it fall below regular CMOS cameras? To test that, I shot in situations including gymnasiums, night scenes, bird shooting, an airport and more.

There’s no question that dynamic range is reduced compared to Sony cameras like the A1, at least by a stop. The reason is that the sensor has less light capacity due to the space taken up by the extra electronics.

It also has a smaller ISO range, both on the high and low end. Minimum ISO is not great at 250 and at the high end, ISO is limited to 25,600, half that of the A9 II.

In general, there’s more noise and less dynamic range at any given ISO setting than the A9 II. At the same time, the resolution is lower than rivals like the Nikon Z9 and Sony’s own A7R V and A1. So for landscapes, portraits and other types of photography where dynamic range and resolution is important (and speed isn’t), the A9 III isn’t the best choice.

That said, you’d need to pixel peep to notice any major difference in image quality between rival 24-megapixel cameras up to about ISO 6400. For the intended audience of sports, action and wildlife shooters, it’s more than sufficient.

Beyond that, images are noisier, but still usable up to the maximum ISO 25,600 with noise reduction (Sony appears to have more aggressive noise reduction for JPEG images at higher ISOs). I had no difficulty extracting good shots in dark scenes at ISO 6400 or even ISO 12,800. And as mentioned, you have more control with a flash than any other camera on the market – so that’s a solid option in low light.

Otherwise, images are typical for Sony, with accurate colors and skin tones. The 14-bit RAW files are easy to work with and allow some pushing and pulling, particularly in highlights.

Video

Steve Dent for Engadget

Sony took advantage of the global shutter to make the A9 III its most capable mirrorless camera for video. 4K at up to 60 fps is supersampled using the full 6K sensor width, while 4K at 120 fps can also be shot using the full sensor, albeit with pixel binning. That mode supports full 120 fps playback as well, or slower playback modes via the slow and quick (S&Q) setting.

RAW 4K capture at 60 fps is also possible using an external recorder. All of those modes are available with 10-bit S-Log 3 recording to expand dynamic range in challenging lighting conditions.

That’s just the start of the A9 III’s video powers. Autofocus is as fast and accurate in video as stills mode and has all the same AI features. That means you’ll be sure to keep even fast-moving subjects sharp, whether they’re people, birds, animals or vehicles.

Those who prefer to shoot manually can employ Sony’s handy focus map feature. It has the auto-framing seen on previous Sony models like the ZV-E1 that lets YouTubers move around while filming themselves. You also get the digital zoom feature that reduces focus breathing for supported lenses, with some loss of quality.

Steve Dent

Airplane propeller distortion in video is a telltale sign of a rolling shutter camera, so naturally we had to test the A9 III at an airport against Sony’s stacked sensor A1. Our findings? While the A1 still produces bendy propellers, they’re of course dead straight on the A9 III. That trivial test has large implications. You can shoot things like whip pans or a fast moving train that you’d never try with a rolling shutter sensor. And since everything is exposed at once like a film camera, it’s more cinematic.

The A9 III does have some video competition, as RED just launched a pair of full-frame global shutter cinema cameras last month.

It has the same excellent video stabilization capabilities as the ZV-E1. Regular optical stabilization is good for handheld shots without much movement, or you can kick in the dynamic active mode for walking. That provides near gimbal levels of smoothness, though there’s a considerable zoom and loss of sharpness.

Much as with photos, video quality isn’t quite up to other full-frame cameras, with more noise in general. I shot in S-Log3 most of the time to maximize dynamic range and was satisfied with the results. In low light, I was forced to use some noise reduction.

Quality is still better than any APS-C mirrorless or cinema camera. I think the global shutter advantages, particularly the elimination of rolling shutter, will be worth the tradeoff in quality for a large number of videographers.

Wrap-up

Steve Dent for Engadget

Sony launched its first full-frame mirrorless camera, the A7, years before rivals, and was first to market with backside illuminated and stacked sensors. Lately though, rivals (especially Canon) have been catching up and the field has leveled. With the first global shutter camera, Sony has taken a leap ahead once again.

Image quality has held global sensor cameras back, but Sony clearly felt that the time was finally right. It was a wise calculation — the A9 III is far better than I expected for a first-gen product. It offers mind-blowing speeds and incredible video capabilities, with a relatively small cost in image quality..

Its primary rivals are the $4,800 Canon R3, Sony’s own $6,500 A1, the $5,650 Nikon Z9 and $3,800 Z8, all stacked sensor cameras. The latter three offer much higher resolution and better picture quality, plus shooting speeds that are still darn fast. They all have some rolling shutter, though, along with flicker and flash sync issues that don’t exist on the A9 III.

Whether it’s worth risking that kind of money on new and unproven stacked sensor tech depends on the buyer. Action photographers and videographers won’t blink at the cost if they advantages of global shutter will help them make money. Unless you really need those benefits, though, Nikon’s Z9 and Z8, along with Sony’s A1, are more versatile cameras — and the Z8 is significantly cheaper.