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DJI Announces the Mavic 3 Classic
From the DJI Press Release: DJI Makes World’s Best Camera Drone More Accessible With Mavic 3 Classic
“November 2, 2022 – DJI, the world’s leader in civilian drones and aerial imaging technology, today makes the world’s best camera drone more accessible with the Mavic 3 Classic, giving creators a new way to experience the unparalleled Hasselblad camera and unbeatable flight performance of the Mavic 3 Series. Mavic 3 Classic features the same 4/3 CMOS 20-megapixel camera, 46-minute maximum flight time, and O3+ transmission system as the original Mavic 3 drone, without an additional telephoto lens. Mavic 3 Classic is compatible with existing DJI RC Pro, DJI RC, and DJI RC-N1 to put premium performance in a more affordable package, making it easy for drone creators to move up to the best flying camera on the market.
“The Mavic 3 series has always set the standard for what a drone can do, from the original Mavic 3 and Mavic 3 Cine that transformed aerial photography and cinematography, through the Mavic 3 Enterprise and Mavic 3 Thermal platforms for professional work,” said Ferdinand Wolf, Creative Director at DJI. “Now, DJI is moving forward to give more creators access to the photographic excellence and operational reliability that are the hallmarks of the Mavic 3 Series. With the launch of Mavic 3 Classic, we hope to see even more creators putting our top-of-the-line tools to work and pushing their creativity past their old limits.”
The Best Camera for Your Best Content
With the launch of Mavic 3 Classic, more creators will have full access to the wide possibilities afforded by the Mavic 3 4/3 CMOS Hasselblad camera. For video work, the camera captures up to 5.1K/50 fps, 4K/60 fps and 1080p/60fps using H.264 and H.265 encoders. In slow-motion applications, Mavic 3 Classic captures video at 4K/120fps and 1080p/200fps. Its 24mm equivalent focal length lens opens to an adjustable aperture spanning f/2.8 to f/11 for 12.8 stops of native dynamic range. When light hits the 20-megapixel sensor, it is processed in 12-bit RAW for photography and 10-bit D-Log for video, making the camera up to the challenge of accurately conveying the vivid colors, peak highlights, and detail-rich shadows of our world.
Because the Mavic 3 Classic camera is based on Hasselblad’s groundbreaking research and development, it is designed to capture true-to-life details matching what the human eye perceives. The Hasselblad Natural Colour Solution directly outputs photos and videos with genuine and accurate colors, and its HLG system for high dynamic range photography generates footage that does not require color tuning in post-production. Even in low-light scenarios such as sunrises and sunsets, a night shot video mode reduces visual noise to allow cleaner shots.
Intelligent in the Air and on Your Screen
Capturing the world’s images accurately is just the beginning of the creative process. Mavic 3 Classic is engineered to put the power of DJI’s flight technology at the service of every creator in a simple and easy-to-use interface that functions smoothly right out of the box, is customizable for the most precise control, and easily outputs images and videos for sharing, editing, and post-production.
Creators who have honed their skills on earlier versions of DJI’s drones will find themselves free to fly for up to 46 minutes with Mavic 3 Classic, which uses the same batteries as the rest of the Mavic 3 Series. The O3+ transmission system for flight control and video can display stellar 1080p/60fps video at a range of up to 15 kilometers (9.3 miles). Transmission distance is a proxy for signal strength, and Mavic 3 Classic should always be flown within the pilot’s line of sight.
From the first moments in the air, Mavic 3 Classic’s array of intelligent algorithms can begin tracking subjects, framing images and automatically moving the camera in cinematic flight patterns. The ActiveTrack 5.0 system uses multiple vision sensors to recognize subjects, lock them in frame, and move the drone and camera in concert to create professional-quality videos. With MasterShots, both shooting and editing functions are automated to make the creative process simple and effective even for new pilots still developing their personal visual language in the air.
Mavic 3 Classic features the automated QuickShots shooting modes that DJI pilots have come to love, as well as continued support for timelapse, hyperlapse, and panorama shooting styles. The new Cruise Control feature allows pilots to set a constant flight speed for their drone, allowing them to focus on the imagery while minimizing any camera shake from manual speed control.
Once Mavic 3 Classic is back on the ground, turning raw imagery into classic content is easier than ever. The High-Speed QuickTransfer option allows quick image and video downloads direct from the drone to a mobile phone over Wi-Fi 6 at speeds up to 80 MB per second without connecting to the remote controller.
Safe and Certified
Mavic 3 Classic features a full array of safety features to help pilots steer clear of hazards and other aircraft while creating amazing content. It has eight visual sensors to detect obstacles in all directions, feeding that information to the APAS 5.0 system that can avoid obstacles and independently plan routes around them. Its advanced Return To Home system scans the environment from up to 200 meters away, then can plot the best path back to its launch point and fly that route if necessary.
DJI has always led the drone industry in safety technology, and Mavic 3 Classic continues that proud tradition. It is equipped with an AirSense ADS-B receiver, giving drone pilots awareness of airplanes and helicopters nearby that are transmitting ADS-B signals – often before the pilot can see or hear those aircraft. DJI’s GEO 2.0 geofencing system gives drone pilots information about airspace restrictions and potential flight hazards in the area, providing an extra margin of safety for flight operations. To learn more about DJI’s safety leadership, visit dji.com/flysafe.
Like all DJI products, Mavic 3 Classic is designed with data security in mind. Creators never have to share their photos, videos or flight logs with anyone unless they choose to do so. The drone never has to be connected to the internet during flight, and transmission systems are encrypted for both the drone’s video signals and its flight controls. Even when flying high-profile photo and video assignments, DJI’s data privacy systems provide the discretion and protection that sensitive assignments demand. To learn more about DJI’s security leadership, visit security.dji.com/data/overview.
Mavic 3 Classic is ready for the latest generation of regulatory system compliance around the globe. In the United States, the Federal Aviation Administration (FAA) has approved Mavic 3 Classic’s means of compliance with Remote ID rules, as it has done for the other drones in the Mavic 3 Series. In Europe, the full Mavic 3 Series has been issued the world’s first C1 certificate under the new European Drone Regulation, allowing users to fly in the new A1 Open Category without taking a costly remote piloting licensing exam.
Price and Availability
The DJI Mavic 3 Classic is available for purchase today from store.dji.com and authorized retail partners in three purchase configurations:
Mavic 3 Classic (Drone Only) does not include a remote controller or charger, and is ideal for owners of existing DJI drones who are ready to move up to the top-of-the line camera performance of Mavic 3. It is compatible with any existing DJI RC-N1, DJI RC or DJI RC Pro controller. It is available for the retail price of US$1469.
Mavic 3 Classic includes a charger and the DJI RC-N1 remote controller. It is available for the retail price of US$1599.
Mavic 3 Classic (DJI RC) includes a charger and the DJI RC remote controller. It is available for the retail price of US$1749.
Mavic 3 Classic Fly More Kit includes two Intelligent Flight Batteries, a Battery Charging Hub (100W), 65W Car Charger, three pairs of Low-Noise Propellers, and a DJI Convertible Carrying Bag. It is available for the retail price of US$649.”
DJI Announces the Dual-Camera Mavic 3 Drone
Mavic 3 is redesigned from tip to tail as worthy of the Mavic series’ reputation as the world’s best and most popular drones. From its 4/3 CMOS Hasselblad camera and 28x hybrid zoom camera, to its omnidirectional obstacle sensors with a maximum 200-meter range, [1] to its redesigned batteries that provide up to 46 minutes of flight time, Mavic 3 provides unprecedented flight performance and a peerless content creation experience.
The New Mavic 3 Dual-Camera Drone
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From the DJI Press Release: “DJI, the global leader in civilian drones and creative camera technology, today reimagines what a drone can be with the new Mavic 3, a bold and brilliant update of the iconic folding camera drone that once again redefines how to create magic from the sky. Mavic 3 is the most comprehensive improvement to the world’s most popular drone series in three years, boosting performance in every function to create new aerial possibilities for flight, photography, and fun.
Mavic 3 is redesigned from tip to tail as worthy of the Mavic series’ reputation as the world’s best and most popular drones. From its 4/3 CMOS Hasselblad camera and 28x hybrid zoom camera, to its omnidirectional obstacle sensors with a maximum 200-meter range, [1] to its redesigned batteries that provide up to 46 minutes of flight time, Mavic 3 provides unprecedented flight performance and a peerless content creation experience. Its upgraded hardware and software can process 5.1K video at 50 frames per second in supple and nuanced color with heightened low-light sensitivity, and support 4K/120fps for higher-quality results for slow-motion footage. An enhanced Mavic 3 Cine edition offers Apple ProRes 422 HQ encoding for richer video processing, with an internal 1TB SSD onboard for high-speed data storage.
“Creating the Mavic 3 was an arduous journey for our engineers who tackled complex technical problems to serve the goal that the Mavic series has always met – build professional-quality imaging and flight technology into a compact consumer drone,” said Ferdinand Wolf, Creative Director, DJI Europe. “The result is incredible. Mavic 3 enables users to effortlessly make epic shots without compromising on small size, stunning performance, pervasive flight safety, and dazzling image quality. We are confident that this drone will astonish videography and photography enthusiasts, as well as professional production houses and media workers around the globe.”
Imaging Above Everything With A Dual-Camera System
DJI pioneered the folding drone category in 2016 with the launch of the original Mavic Pro, which for the first time put professional-quality imaging in a body that could fit in a backpack. Two years later, Mavic 2 Pro launched DJI’s collaboration with iconic Swedish camera maker Hasselblad, integrating a one-inch sensor to push the boundaries of drone imagery further. With its new dual-camera Hasselblad system, Mavic 3 once again sets the new standard for imaging excellence.
DJI Mavic 3’s customized L2D-20c aerial camera embeds a professional-grade 4/3 CMOS sensor with a 24mm prime lens in a sleek and compact form. Rigorous Hasselblad standards for hardware performance and software algorithms allow it to shoot 20MP still images in 12-bit RAW format and videos in 5.1K at 50fps, 4K at 120fps.The higher video definition creates smoother footage and more generous cropping possibilities and allows for slow-motion video at 120fps.
The larger image sensor gives Mavic 3 higher video resolution and dynamic range and more effectively suppresses noise in low-light environments. A native dynamic range of 12.8 stops helps retain more details in highlights and shadows, preserving rich visual information with a greater sense of depth and elevating imagery to a professional level. An adjustable aperture of f/2.8-f/11 is available to meet the needs of aerial photographers in a wide variety of lighting scenarios to get sharper and clearer images.
Weighing just 12.5 grams, the 24mm equivalent autofocus prime lens has an 84° FOV to capture more details with sharp clarity. Mavic 3’s second camera features a 162mm tele lens with 28x Hybrid Zoom (digital + optical) and aperture of f/4.4 that can freely bring distant objects visually closer, offering the user more dynamic perspectives and creative possibilities at a distance. The new Vision Detection Auto Focus technology for quick focusing allows the Hasselblad camera to work with multiple vision sensors on board to capture distance data to optimize focusing speed.
Mavic 3 delivers a deeply accurate color palette straight out of its camera thanks to the unique Hasselblad Natural Colour Solution (HNCS), built on decades of photographic experience and introduced to DJI cameras with Mavic 2 Pro. With professional imaging performance, Mavic 3 records aerial videos at high resolutions and framerates and captures up to 1 billion colors thanks to the 10-bit D-Log color profile, offering natural color gradations and advanced flexibility in post-production.
Mavic 3 Cine is a version with Apple ProRes 422 HQ encoding for a maximum data rate of 3772Mbps, giving professional users a powerful tool to satisfy post-production needs in their daily business. [2] To handle the large amounts of data from the ProRes codec and high frame rate videos, Mavic 3 Cine comes with a built-in 1TB SSD. For a smoother export experience, the new DJI 10Gbps Lightspeed Data Cable helps transfer large data files rapidly.
Effortless Flights With Enhanced Flight Safety
DJI has always led the drone industry in developing innovative safety features, and Mavic 3 continues this tradition with improved obstacle sensing and navigation systems to give drone pilots the guidance they need to stay safe. APAS 5.0 combines inputs from six fish-eye vision sensors and two wide-angle sensors, which seamlessly and continuously sense obstacles in all directions and plan safe flight routes to avoid them – even in complicated environments. [3]
The omnidirectional obstacle sensing system also enables more intuitive subject tracking with the upgraded ActiveTrack 5.0, [4] allowing users to sense obstacles even in Normal mode. Previous iterations of ActiveTrack enabled the camera to follow a subject as it moved directly toward and away from the drone while remaining largely stationary as well as fly alongside a moving subject. ActiveTrack 5.0 allows Mavic 3 to move with the subject as it moves forward, backward, left, right, and diagonally, and fly alongside as well as around a moving subject. In addition, if the subject moves too fast and temporarily goes out of frame, the visual sensors on the aircraft will continue to track and frame the subject intelligently and pick it back up when it reappears. These new directions enable much more fluid and diverse drone and camera movement while using ActiveTrack.
Mavic 3 comes with a powerful positioning algorithm that improves hovering precision with signals from GPS, GLONASS, and BeiDou satellites. This enables Mavic 3 to lock onto multiple satellite signals faster than ever. The increased positioning precision also makes Mavic 3 less likely to drift in the air and more stable when shooting long exposures and timelapses.
Mavic 3 features other robust safety systems that DJI has pioneered to keep the skies safe in the drone era. These include geofencing to alert drone pilots when they fly near sensitive locations, altitude limits to ensure pilots are aware of altitude restrictions, and the AeroScope Remote ID system that allows authorities to identify and monitor airborne drones in sensitive locations. Mavic 3’s integrated AirSense system, first widely introduced in DJI Air 2S, warns drone pilots of nearby airplanes and helicopters transmitting ADS-B signals, so they can quickly fly to a safer location.
Longer Flights With Extended Battery Life And Improved Aerodynamics
DJI set a benchmark for drone endurance in 2016 with the Phantom 4 and the original Mavic Pro, which each featured maximum flight times approaching 30 minutes. In the succeeding years, new drone models have slowly increased those times thanks to incremental improvements in flight technology. With Mavic 3, DJI has reshaped every element of the drone’s flight envelope and power management to enable drastically longer flight times – up to 46 minutes in ideal conditions – giving unprecedented freedom for aerial photographers to shoot dynamic scenes.
DJI developed motors and propellers with higher energy efficiency, created a higher-capacity battery, and reduced the weight of the drone’s structure and components. DJI also streamlined the shape of Mavic 3’s arms, body, and gimbal on aerodynamic principles. Wind tunnel testing shows Mavic 3 produces 35% less drag than previous generations, allowing faster top speeds.
Return Safely With Advanced RTH
DJI’s Return To Home (RTH) system has enhanced the safety of DJI drones for years, automatically directing a drone back to its starting point if it runs critically low on battery or loses connection to the controller. The drone would ascend high enough to clear any obstacles in its path, fly back in a straight line, and descend straight down to the home point. Mavic 3 updates and improves this system by allowing the aircraft to automatically determine the shortest, safest, and energy-efficient route to land back at its home point. At the same time, the drone measures the wind speed of the current environment and calculates the power required for returning home based on the wind speed and the return path in real-time. This provides users with more time flying safely before triggering the RTH action.
Signal Loss Prevention with DJI O3+
DJI O3+ is an upgraded transmission system that delivers stable, smooth, and clear video transmission even under challenging conditions, such as flying a drone in an environment with strong signal interference. With a maximum control range of 15km, [5] O3+ enables Mavic 3 to fly further and transmits signals with higher stability and less video lag, offering the pilot a greater peace of mind during flight. Mavic 3 is DJI’s first drone that offers a High Frame-Rate Transmission with a 1080p/60fps live feed. This means the camera view is displayed at a resolution close to what the camera actually records. O3+ also makes Mavic 3 more responsive to the pilot’s control.
Intelligent Modes for Unlimited Possibilities
Mavic 3 offers a new array of Intelligent modes for creating and editing compelling photos and videos by controlling the flight path and camera movements in compelling new ways. These features, such as MasterShots, Panorama mode, and QuickTransfer, allow users to make the most out of their drone.
MasterShots [4] lets users create high-quality content more easily and quickly. After automatic editing and dubbing in the app, videos can be created in minutes and directly shared with friends.
Panorama Mode [4] in Mavic 3 allows pictures to be directly stitched and processed by the drone, without the DJI Fly App or any post-production, allowing users to capture breathtaking landscapes with sweeping breadth and rich detail.
QuickTransfer [4] lets users store and process materials on their mobile devices without linking with the remote controller. Mavic 3 can now transmit materials from the drone to the mobile device more quickly through the Wi-Fi 6 protocol.
New, Advanced Accessories
Along with a suite of new features and performance innovations, DJI introduces new ways to control, capture with, and carry DJI Mavic 3.
The new smart controller DJI RC Pro offers a smoother control experience, upgraded with enhanced antenna power for an extended transmission distance of up to 15 km. [5] Its 1000-nit high-bright screen allows better vision and control for outdoor flights. Its battery system offers an extended operating time of up to three hours and charging as fast as 90 minutes.
The DJI 65W Portable Charger allows a fast-charging option with a charging time of approximately 96 minutes and is compatible with current notebooks and smartphones thanks to its USB Type-C output.
The DJI Convertible Carrying Bag features an entirely new design with a backpack and shoulder bag configuration for taking Mavic 3, accessories, a laptop, and even clothes and other personal items for a weekend trip in style.
The DJI Mavic 3 Wide-Angle Lens offers an FOV of up to 108° for a more immersive FPV-style flight experience.
The DJI Mavic 3 Storage Cover uses a lightweight, minimalist design to protect the camera, gimbal, and propellers when folding and transporting Mavic 3.
The DJI ND Filters Set comes in two ranges – ND4/8/16/32 and ND64/128/256/512 – and lets the camera excel in any bright lighting condition.
The DJI 10Gbps Lightspeed Data Cable enables users to download materials from the drone to their computer at high speed. Material backup is available on-site, thanks to high-speed transmission.”
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Buy Mavic 3 on Amazon.com
Canon Officially Announces their Most Technologically Advanced Full-Frame Mirrorless Camera - the EOS R3
The core of the EOS R3 features a Canon designed and manufactured 24.1-megapixel back-illuminated stacked CMOS sensor. The sensor is the first of its kind from Canon, and when combined with the DIGIC X processor, delivers a high-speed readout allowing for continuous blackout-free shooting1 at up to 30 fps in electronic (silent) shutter mode and up to 12 fps in mechanical shutter, with minimum rolling electronic shutter distortion. The combination also increases the high sensitivity, light-capturing efficiency of a native ISO range of 100-102400, expandable up to 204,800 for still images. Like the EOS R5 and R6, the camera features the improved Dual Pixel CMOS AF II with 1,053 AF Points and evolved EOS iTR tracking down to EV -7.5 for subjects such as eye, face, head, animals2, and select cars and motorcycles. In addition, the camera features up to 8 stops3 of in-body image stabilized (IBIS) shake correction.
The new Canon EOS R3 Full-Frame Mirrorless Camera has been officially announced
From the Canon Press Release (September 14, 2021): “Building on the success of the EOS R camera series, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the next leap forward in full-frame mirrorless cameras - the professional-grade Canon EOS R3. The new camera leverages the advancements in technology that Canon has developed since the original EOS R launch in 2018 and bridges the gap between the immensely popular EOS R5 and the world-renowned Canon flagship EOS-1D X line. The EOS R3 is the first “3” series camera from Canon since the widely used EOS-3 film camera launched in 1998.
The EOS R3 camera’s features greatly emphasize superb AF performance and speed with fast-moving subjects. It was designed to meet the reliability and durability demands of professionals, even when working in some extremely challenging conditions.
“The launch of the EOS R3 sets a new benchmark for the Canon EOS R camera system. Canon listened carefully to the voices of professionals when developing a camera to meet their standards,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The EOS R3 is a monumental evolution in digital imaging technology. I look forward to seeing the camera in action on the sidelines of sporting events and in the hands of nature and wildlife photographers across the globe.”
The core of the EOS R3 features a Canon designed and manufactured 24.1-megapixel back-illuminated stacked CMOS sensor. The sensor is the first of its kind from Canon, and when combined with the DIGIC X processor, delivers a high-speed readout allowing for continuous blackout-free shooting1 at up to 30 fps in electronic (silent) shutter mode and up to 12 fps in mechanical shutter, with minimum rolling electronic shutter distortion. The combination also increases the high sensitivity, light-capturing efficiency of a native ISO range of 100-102400, expandable up to 204,800 for still images. Like the EOS R5 and R6, the camera features the improved Dual Pixel CMOS AF II with 1,053 AF Points and evolved EOS iTR tracking down to EV -7.5 for subjects such as eye, face, head, animals2, and select cars and motorcycles. In addition, the camera features up to 8 stops3 of in-body image stabilized (IBIS) shake correction.
Leveraging technology and performance feedback from the popular EOS R5 and EOS R6 cameras, the EOS R3 uses Deep-Learning technology to further enhance eye and body detection for even better performance during portrait and action-type shooting. Featuring a new 5.76-million-dot and 120fps blackout-free1 Electronic Viewfinder, the EOS R3 camera will provide photographers with the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye input AF2 and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame. When Face Detect + Tracking is active, the camera will continue to follow moving subjects around the entire active AF area.
The EOS R3 camera doesn’t just capture spectacular still images, it also packs impressive video specs as well. The camera is capable of shooting 6K 60p RAW and 4K 120p 10-bit uncropped video with Canon Log 3 support, in addition to the possibility for oversampled 4K and RAW movie internal recording. Canon Log 3, which is frequently used in cinema production, helps to reduce the possibility of highlight blowouts. What’s more, the features such as industry standard BT.709, BT.2020 color gamuts, and cinema gamut help to maintain color and tonal consistency. Coordinated 5-axis IBIS helps to correct operator motion or shaking providing dependent video capturing even when using a lens without built-in Optical IS.
Additional features of the EOS R3 Full-Frame Mirrorless Camera include:
Canon’s next-generation Multi-Function Shoe that is compatible with a variety of accessories including the Speedlite EL-1, and new accessories such as the ST-E10 Speedlite Transmitter, External Mic and Smartphone Link Adapter
One-piece magnesium alloy design, integrating the body with a vertical grip section
Weather and dust resistance equivalent to EOS-1D camera models.
Mobile File Transmitter application for iOS® and Android® devices allows photographers to transfer their images quickly and easily without the need for wired LAN equipment
Built-in Wired LAN, 5GHz Wi-Fi®, USB and Bluetooth® technology
Dual-card slots, supporting one CF express and one UHS-II SD
The Canon EOS R3 Full-Frame Mirrorless Camera is scheduled to be available in November 2021 for a suggested retail price of $5999.00*. For more information, please visit usa.canon.com.”
An In-Depth Review of Canon's RF 600mm & 800mm f/11 IS STM Lenses
Canon raised a lot of eyebrows when they announced the extremely affordable RF 600mm & 800mm f/11 IS STM lenses. “An 800mm lens for $899??? But it’s f/11??? What’s going on here??” Canon has so far been unique in this sub-$1,000 venture, especially considering the 800mm lens. What are the real trade offs with these smaller & cheaper f/11 600mm and 800mm lenses?
Canon raised a lot of eyebrows when they announced the extremely affordable RF 600mm & 800mm f/11 IS STM lenses. “An 800mm lens for $899??? But it’s f/11??? What’s going on here??”
Canon has so far been unique in this sub-$1,000 venture, especially considering the 800mm lens. As far as I can tell from looking at the websites of Sony, Nikon, Panasonic, Sigma, Rokinon & Samyang, the only other major camera or lens manufacturer that actively produces an 800mm lens is Nikon, and it costs over $16,000. Canon’s 800mm f/5.6 lens costs around $13,000. So what are the real trade offs with these smaller & cheaper f/11 600mm and 800mm lenses?
I own both the 600mm and 800mm f/11 IS STM lenses and use them both, but this article looks primarily at the 800mm since it lets me test more extreme focal lengths.
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Can They Really Produce Sharp Images?
I wanted to see if these lenses are sharp, and I started with a very controlled environment that you probably wouldn’t be in whether you’re trying to have fun or make money. I mounted the 800mm f/11 on a tripod indoors, attached a wired remote trigger to my Canon EOS R5, and focused on some playing cards that were about 20 feet away. The distance of 20 feet is important, because 19.69ft is actually the minimum focusing distance for the 800mm f/11 (it’s 14.76ft for the 600mm). I got as close to the cards as I could while still being able to focus on the King’s face. I took one shot with the stabilizer on and one shot with the stabilizer off, both using Electronic 1st curtain shutter. The camera settings were ISO 100, 800mm, f/11, 2.5 seconds. Here are the results of those two shots:
When I looked at the first image on my computer screen (when the stabilizer was off) I had absolutely no complaints about image sharpness. In fact, I was impressed. No one should be complaining about the sharpness of this 800mm lens for the price! I can see more detail in the playing cards from 20 feet away that I would typically notice if I was holding the card in my hand.
The image with the stabilizer turned on showed a little bit of blur. I assumed this would happen because I could see it in the camera’s LCD before I took the shot… the image moved around ever so slightly and constantly, and it is clear that stabilizers in an 800mm lens are not designed for long tripod exposures. I have accidentally left the stabilizer on when using a Canon RF 15-35mm wide angle lenses on a tripod and had no detrimental effects on sharpness, but with these super-telephoto lenses the stabilizer is definitely designed for faster shutter speeds during hand-held shooting.
Here are cropped versions of the above photos with the stabilizer on and off:
You can see in the above cropped images that when the stabilizer is off it is sharp enough to see the tiny fibers on the top edge of the card and the texture of the card itself. But when the stabilizer is on, it is slightly blurry.
Call me crazy, but I wanted to see if the image was still sharp if I threw a Canon Extender RF 2x on the 800mm lens. Since I was already stuck at f/11 with the lens, adding a 2x Extender will cause me to be stuck at f/22! I did an 8 second exposure instead of a 2.5 second exposure. I also moved back about 10 feet in order to keep a few different cards in the frame. Here is the shot from about 30 feet away with a 2x Extender, both uncropped and cropped:
Once again I was impressed! Even at when using a 2x Extender to achieve 1600mm, the image was sharper than I expected. From 30 feet away I can see the tiny fibers on the top edge of the cards, the texture of the cards, and the texture of the fake plant leaf behind the cards.
Thumbs up for Canon’s glass quality & sharpness, for both the lens and extender!
How Good are those Stabilizers? Hand-Holding Shots for Stationary Objects
One of the biggest challenges with 600mm or 800mm lenses is camera shake. The tiniest movement or vibration can cause your image to turn out blurry. Even the shutter or mirror in your camera can cause the image to be blurry, which is why I used 1st curtain electronic shutter for the longer tripod shots and electronic shutter mode for shots quicker than 0.5 seconds. Very fast shutter speeds and lens stabilizers can overcome vibration from a camera’s mirror or shutter, but since I am trying to specifically test the stabilizers in these lenses at different shutter speeds I wanted to eliminate that potential cause of vibrations.
When you are hand-holding such a long lens for the first time, you might be surprised how hard it is to keep it still! The longer the lens, the more the subject will appear to be jumping around. This is why there is a “rule” about keeping your shutter speed about twice as fast as your focal length when you are shooting with your camera in your hands rather than a tripod. For example, if your lens is 50mm you’d want to use shutter speeds at least as fast as 1/100th of a second. If your lens is 15mm, you should only need a shutter speed of 1/30th sec. Does this rule still apply at 800mm? Let’s find out!
For the next test I found a couple of frogs playing a game, and payed them $20 to sit still for a few minutes (just kidding). I took at least 10 shots at each shutter speed with the stabilizer on and off. I used autofocus to focus on the left frog’s eye before each set of shots. Even though I was stuck at f/11 the background is blurred nicely, due to the fact that I was only about 20 feet away at 800mm. I adjusted exposures to make all the images somewhat similar, because in some shots I had slowed down the shutter speed without being able to change the aperture or lower the ISO further. I also had to move the frogs into the shade once I was testing slower shutter speeds.
For each set of photos, I had the Canon EOS R5 set to continuous shooting with the electronic shutter, which means it was firing at 20 shots per second. I just held down the shutter button until I got at least 10 photos. One thing to note on these non-stabilized shots is how much the photos jump around between shots, despite the photos only being 1/20th of a second apart! It’s a good indication of how hard it is to hold an 800mm lens steady.
My first test set was shot at 800mm, ISO 1000, f/11, 1/1600th sec, stabilizer off. When I looked at the 1/1600th sec shots with no stabilizer, it looks like the “rule” of using a shutter speed twice as fast as your focal length generally held up. I had 17 photos at this shutter speed and they all looked nice and sharp.
Now let’s see how a 1/800th sec. shutter speed did at 800mm since that “breaks the rule:”
Initially when looking at the 1/800th sec. shots on the computer I thought I “perceived” motion blur, but when I zoomed in I couldn’t necessarily prove it. So it seems like 1/800th of a sec. still produces usable images at 800mm, or have such a minor loss of sharpness that most people wouldn’t notice it.
At shutter speeds of 1/200th and 1/400th of a second it is hard to see the motion blur when looking at the whole images, but most of the images lose sharpness at these slower speeds. Here are four of the images at 1/200th:
Here are a couple crops to show the blur up close. One of these shots at 1/200th is fairly sharp, and the other shows a bit of blur:
At 1/100th of a second I took 13 shots with the stabilizer off, and only 1 lucky photo out of 13 was sharp. Once I got down to 1/50th of a second all 12 images I took had noticeable motion blur, and most of the photos were basically unusable:
To summarize the results of the non-stabilized test shots at 800mm:
1/1600th of a second produced all sharp images
1/800th of a second produced mostly sharp images, maybe a little blur creeping in on some
1/400th of a second produced a little motion blur on most images
1/200th of a second produced more motion blur than 1/400th, but still had a couple usable images
1/100th of a second produced 12 blurry images, but I had 1 lucky sharp one in there.
1/50th of a second produced 100% blurry images
So ultimately, the shutter speed that is double your focal length would be the safe choice if you were only taking one photo of a stationary object with the stabilizer off. If you take 20 shots per second like I did in this test, you could get away with lower shutter speeds than the rule suggests if your subject isn’t moving at all and maybe get a couple lucky sharp ones in there. =)
Now let’s see how far we can push shutter speeds with the stabilizer enabled. I am doing these tests with a Canon EOS R5, which has in-body image stabilization. This means if you were to put the same lens on an EOS R which does not have in-body image stabilization, you might not want to push the shutter speeds as low.
Let’s continue with shutter speeds of 1/50th of a second, but this time with image stabilization enabled:
When looking through these 1/50th sec. shots on my computer the one that had the most blur was the first image, captured right after I pushed the shutter button. I could have had a steadier first image if I had used the camera’s 2 second timer, and if I was trying to take a steady single shot that’s definitely what I would do. But generally speaking the stabilizer allowed me to shoot at 1/50th of a second. Also notice how the composition doesn’t jump around much at all! The stabilizer is making up for my slight hand movements that were clearly present in the non-stabilized galleries earlier on. Taking shots with the stabilizer on at 1/100th resulted in all sharp images as well, including the first shot as I was pushing the shutter button.
I ended up taking 12 images in less than a second with a shutter speed of 1/25th, and the photos ranged from being sharp to having a minor amount of blur. Here is a crop of a couple photos at 1/25th from one of the sharper photos and one of the blurriest photos:
So using 1/25th sec. shutter speed for stationary subjects is fair game with this lens, especially when using continuous shooting (aka burst shooting) drive modes and an electronic shutter. As quick as the R5 shoots photos you will probably end up with a couple sharp photos in less than 1 second of shooting.
My test results at 1/13th sec. brings me to the end of our shutter speed stabilization tests, because all of the photos had a little motion blur. The amount of blur was very consistent at 1/13th, and the photos weren’t necessarily unusable but they definitely weren’t perfectly sharp.
To summarize the stabilizer tests with the Canon RF 800mm f/11 IS STM Lens:
Most or all photos will be sharp when shooting at 1/50th of a second or faster when the stabilizer is on and your subject is still (no animals or people)
You can get away with shooting stationary subjects at 1/25th of a second if you are burst/continuous shooting (hit or miss sharpness)
1/13th second exposures and slower will probably have minor motion blur in all images
You would probably never want or need to be at ISO 100 with a 600mm or 800mm lens like I was in these tests, because most subjects you photograph are going to be moving so you’ll want very fast shutter speeds. Even flowers move in the wind. If you are using these lenses you will probably be using higher ISO’s because subjects move across the frame quickly at super-telephoto focal lengths. The stabilizers are great, but they don’t stabilize the motion of your subject… they only reduce the effect of movement created by your hands holding the camera.
One Interesting Scenario where the RF 600mm and RF 800mm f/11 Lenses Differ Significantly vs. the Canon RF 100-500mm f/4.5-7.1L IS USM
One interesting thing I’ve discovered with these lenses is the way they handle bright light sources in low-light scenes. To illustrate the issue, I took the same shot with the Canon RF 800mm f/11 lens and the Canon RF 100-500 f/4.5-7.1L Lens with an RF 2x Extender attached to the 100-500 at a lighthouse at night. Both shots were taken back to back with the same camera with a tripod in the same location with the same white balance settings:
Since the RF 800mm f/11 has no aperture blades it renders the glow from lightbulbs along the catwalk as round circles of light, whereas the RF 100-500 f/4.5-7.1L captures the lights as stars with 18 points since that lens has 9 aperture blades. Canon’s user manual for the RF 600mm & 800mm states:
“ … Color flare might appear around the light source depending on shooting conditions…” and “For scenes where a light source is inside the screen, colored flare may occasionally appear as a halo of light around the light source.”
Most photographers will probably prefer the look of lenses with aperture blades when rendering light bulbs in night scenes over bladeless Diffractive Optics lenses like the RF 600mm and 800mm. But most people will not be using these lenses at night, so that shouldn’t be a deal breaker.
Sample Gallery - Photographing Live Animals at 1600mm
For the live animal sample gallery I wanted to take things to the extreme and see what kind of ISO’s and shutter speeds I would be using if I was hand-holding 1600mm, so I attached the Canon RF 2x Extender to the RF 800mm f/11 and took my Canon EOS R5 camera to the zoo. I found the easiest way to walk around photographing animals was to simply put the ISO on Auto with a range of up to 12,800 and control shutter speed as desired. If the camera got tricked by the lighting situation I adjusted settings as needed. I used Animal Eye Autofocus the whole time, which usually made focusing a breeze.
Here is the sample gallery with settings embedded in the photos. None of these photos are cropped at all:
Since this was my first time walking around shooting live animals handheld at 1600mm & f/22 I was slightly concerned about using ISO’s ranging from 3200 to 12,800. I assumed that the noise would be distracting enough to make the photos unusable, but I was impressed with how well the Canon EOS R5 handled it. I had the noise reduction slider in Adobe Lightroom typically between 25 and 40, and that seemed to be enough to make the noise acceptable at these high ISO’s. The combination of high ISO’s and a little of Adobe’s noise reduction allowed me to maintain fast shutter speeds for motion-stopping photos even if the animal was moving.
Initially I didn’t consider trying to photograph animals if there was a chain link fence between me and the animal, but then I tried with the mountain lion and found that the chainlink fence was so out of focus that it didn’t really show up in the image (though it may have impacted sharpness slightly). I also tried it with the tiger and was again fascinated at how the fence was so out of focus it didn’t appear to block the tiger.
These lenses will be a lot of fun for people who want to get into wildlife photography for less than $900, especially if you have a Canon EOS R5, EOS R6 or newer. I imagine this experiment would have been a little more challenging with the Canon EOS R or RP, as those cameras have older sensors and don’t have Animal Eye AF.
Keep in mind I was photographing animals in broad daylight on a beautiful, sunny day. If it was darker outside I would expect autofocus to be slower and less accurate at f/22, and I would have to make some sacrifices with ISO or shutter speed with increased risk of noise or motion blur. For that reason I would imagine it could be difficult to shoot wildlife in the woods with these lenses, but that is an experiment for another day!
Conclusion
Pros of Canon’s 600mm & 800mm f/11 IS Lenses
Glass is surprisingly sharp considering the price & focal length
Stabilizers allow for hand-held shooting
Extremely affordable
Great for learning the challenges of super-telephoto photography
Lots of fun for bird & wildlife enthusiasts who don’t want to drop $13,000+ on a lens
You can add an RF extender for extreme telephoto focal lengths
Autofocus works great in the bright daylight
Cons of Canon’s 600mm & 800mm f/11 IS Lenses
You’re stuck at f/11 (can’t go lower or higher)
Diffractive optics with no aperture blades means lightbulbs at night could flare and won’t have pointy stars like people may prefer
No lens hood or case included
No rotation collar for using camera in vertical position on a tripod (you’d have to put some type of L-bracket on it)
No weather sealing like the higher-end Canon “L” lenses (don’t use outside if there’s a possibility of precipitation)
Products Mentioned in this Article
Nikon Unveils the New Z 7II and Z 6II Full-Frame Mirrorless Cameras
Today, Nikon Inc. unveiled the next chapter of the Z series with the arrival of two new full-frame mirrorless cameras that significantly improve upon the previous generation by adding more power, more features and more of what users want. The ultra-high-resolution Z 7II is for those with an eye for impeccable details, offering professionals and advanced photographers a powerful tool to capture immense resolution in every shot. For dynamic creators who need a device as versatile as they are, the Z 6II balances powerful performance and an expert-level multimedia feature set to bring any creative vision to life. Together, the Z 7II and Z 6II, along with new accessories, expand the Z series into a more robust mirrorless platform, incorporating many performance and design upgrades while maintaining the most popular features of their award-winning predecessors.
The chapter of Z is here: Nikon delivers more of everything with the new Z 7II and Z 6II full-frame mirrorless cameras.
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The High-Resolution, High Performance Z 7II and the Versatile, Multimedia Powerhouse Z 6II Offer More Innovation, Power, Speed and Precision to Step into a New Era of Creative Freedom.
Today, Nikon Inc. unveiled the next chapter of the Z series with the arrival of two new full-frame mirrorless cameras that significantly improve upon the previous generation by adding more power, more features and more of what users want. The ultra-high-resolution Z 7II is for those with an eye for impeccable details, offering professionals and advanced photographers a powerful tool to capture immense resolution in every shot. For dynamic creators who need a device as versatile as they are, the Z 6II balances powerful performance and an expert-level multimedia feature set to bring any creative vision to life. Together, the Z 7II and Z 6II, along with new accessories, expand the Z series into a more robust mirrorless platform, incorporating many performance and design upgrades while maintaining the most popular features of their award-winning predecessors.
“As we evolve the Nikon Z series into the future, we continue to strengthen the platform, keeping the needs of our customers at the center of every new innovation and added feature,” said Jay Vannatter, Executive Vice President, Nikon Inc. “These are the cameras that many have been waiting for from Nikon. The new Z 7II and Z 6II demonstrate our commitment to listening to customer feedback, while also establishing the new standard for performance, quality and versatility for every type of creator, photographer or filmmaker.”
The Nikon Z Mount - The Most Light Means the Best Images
The Nikon Z mount is larger than any other full-frame mount, letting in significantly more light for the best possible image quality. The wider mount also allows for radical new concepts in optical design, giving lens designers the flexibility to create NIKKOR Z lenses with more edge-to-edge sharpness than ever thought possible. These new cameras expand the possibilities of the superior Z mount with performance upgrades designed to improve the quality, workflow and shooting experience for Nikon Z series users.
New Features and Upgrades: Customer-Focused Innovation Drives Creativity
Dual EXPEED 6 Processors for Twice the Power: At the heart of the new Z 7II and Z 6II is the implementation of two EXPEED 6 image processors, turbocharging performance to improve processing speed and increasing burst capability for stills -- all while increasing power efficiency.
Enhanced Focus System: With an updated, feature-rich autofocus system, the Z 7II and Z 6II quickly acquire focus and track subjects throughout the frame. For more precise autofocusing, Eye and Face-Detection AF is now available in the Wide-Area AF (L) mode, which works to avoid focusing on distracting elements by isolating selected portions of an image. Additionally, both models have an improved low-light AF detection range that is capable of acquiring subjects in challenging lighting.
Advanced Video Capabilities: Expanding the boundaries of 4K UHD video, the Z 7II and Z 6II enhance video output with an increased frame rate of 4K (UHD) 60p, plus Eye-Detection AF mode when recording video. While currently available in the Z 7II, the 4K 60p option is planned to be available in a free firmware upgrade for the Z 6II in February 2021. As a result of pro user feedback, the models also allow users to reverse the focus ring orientation on the fly, benefitting those who are used to manual focusing using traditional cine lenses on set. For added flexibility in post-production, 10-bit N-Log and HDR (HLG)1 output offers more detail, dynamic range and contrast in captured footage, while the optional 12-bit ProRes RAW upgrade2 delivers greater creative control for professionals and advanced videographers.
Built for Confidence, Built for Creators: The cameras retain robust weather sealing, user-focused ergonomics and an intuitive interface-- distinctions that Nikon users have come to rely on. The new models also offer improvements such as dual memory card slots, with one CFexpress (type B)/XQD slot and one SD card slot (UHS-II), for maximum versatility and peace of mind. Users will also benefit from more power and comfortable vertical shooting with the addition of the optional new MB-N11 battery pack with vertical grip.
Nikon Z 7II: Absolute Immersive Masterpiece
The Z 7II promises high-resolution stills and video for discerning users who need ultimate performance to achieve exceptional image quality in every shot. A powerful upgrade to the Nikon Z 7, the Z 7II is the ideal camera for capturing highly detailed portraits, landscapes, weddings, events, and commercial photography when there is no compromise on image quality.
The Z 7II features a 45.7-megapixel backside-illuminated (BSI) CMOS sensor to help capture intense detail, ultra-shallow depth of field and clarity that overwhelms. The exceptionally clean native ISO range from ISO 64 to 25,600 offers the functional freedom to shoot at wide apertures in bright light or in-studio with minimal noise.
With up to 10 fps maximum shooting speed at full resolution in Continuous H (extended)3, the Z 7II can handle fast burst rates with more than triple (3.3x)4 the buffer capacity of the Z 7 (in 12-bit lossless compressed RAW).
The Z 7II’s 493 on-sensor phase-detect autofocus points cover 90 percent of the frame, quickly and accurately acquiring subjects, even at its far edges. The Z 7II is capable of acquiring focus in half the light (as low as -3 EV5), making it the reliable tool for low-light scenes such as weddings and indoor events.
Nikon Z 6II: True Multimedia Powerhouse
The Z 6II is the most versatile Z series camera yet, balancing speed, power, low-light ability, and advanced video features for dynamic creators who need pro-level performance and reliability.
Building on the vast pro-caliber video capabilities of the Z 6, the Z 6II is capable of recording 4K UHD video quality with full pixel readout, demonstrating the advantages of mirrorless technology. The camera is capable of a variety of frame rates, including 4K UHD 60p6 with full pixel readout, which is planned to be available in February 2021 via a firmware update. It is also capable of 4K 30p, as well as Full HD 120p for slow motion.
Built with videographers in mind, the Z 6II’s AF speed and tracking sensitivity is adjustable to meet creative needs, while the focus ring is also reversible. Useful indicators for focus peaking, zebra stripes and timecodes help capture the best possible footage in-camera and simplify workflow.
For both models, 10-bit output to an external recorder with N-Log is possible as well as the capture of new HDR (HLG) video and output in 12-bit ProRes RAW with the optional upgrade. For upgrade customers, additional support will also be included for Blackmagic RAW when using the Blackmagic Design Video Assist 12G HDR recorder. This upgrade will also be provided for existing customers who have already purchased a ProRes RAW upgrade for the Nikon Z 6 or Z 77.
The Z 6II and Z 7II are the first Nikon cameras to support Eye-Detection AF and Animal-Detection AF with video recording, enabling continuous focus on the eyes of humans, dogs, and cats.
The Z 6II features a 24.5-megapixel BSI CMOS sensor for crisp stills and video capture with impressive detail, ultra-shallow depth of field and impressive low light performance. To confidently shoot in challenging light, the camera has an impressive ISO range from ISO 100–51,200, expandable up to ISO 204,800 equivalent.
Thanks to the addition of dual EXPEED 6 Processors, the Z 6II boasts a fast 14 fps3 continuous shooting speed, providing quick performance for capturing action, with more than 5x the buffer capacity of the Z 64.
The Z 6II’s enhanced AF system features 273 on-sensor phase-detect autofocus points for easy subject acquisition and tracking throughout the frame, including at the edges. Capable of focusing in half the light (down to -4.5 EV5), the Z 6II easily acquires focus in extreme low light scenarios, making it an ideal option for capturing nightscapes and events.
The Nikon Experience: Reliability & Workflow
Both the Z 7II and Z 6II adopt the Z series’ durable Magnesium Alloy build and extensive weather-sealed design for all-around protection in rugged environments. Both models focus on improved workflow with intuitive features and controls that enhance the creative process.
The Z 6II and Z 7II enable convenient iMenu access for autofocus modes such as the new Wide-Area AF (L) mode for people or animals, with built-in Eye and Face-Detect autofocus, allowing users to quickly switch between controls while shooting.
USB power delivery can be enabled while the cameras are in use, drawing power from the USB source first, to preserve camera battery8 or charging while the camera is turned off (when using the EN-EL15b or EN-EL15c battery).
The Z 6II and Z 7II also include in-camera exposure choices for up to 900 seconds for capturing super slow-shutter nighttime cityscapes and astrophotography.
Both the Z 6II and Z 7II are compatible with the Nikon Webcam Utility software beta, ensuring seamless webcam functionality for all occasions. When using this function with a USB-C cable, power can be supplied to the camera to power it while using it as a webcam, making turnkey webcam functionality as easy as plugging in a USB-C cable.
In addition to its seamless file transfer and remote camera control, the Nikon SnapBridge app can be used to streamline the firmware update process by wirelessly sending the latest firmware file directly to the Z 7II or Z 6II for updating, no card reader or computer necessary.
Portions of the information display can be hidden with still-image shooting and video recording, allowing an unobstructed view of the scene.
In-camera vibration reduction (VR) provides camera-shake compensation equivalent to 5-stops9.
A Rapidly Expanding Ecosystem
Nikon is committed to expanding the NIKKOR Z lens lineup to complement the exceptional power of these latest mirrorless cameras, with 16 NIKKOR Z lenses currently available, including the recently announced NIKKOR Z 50mm f/1.2 S and 14-24mm f/2.8 S. The lineup will expand to include a total of 24 innovative optics by the end of 2021, providing Z series users with the tools to achieve the highest level of optical excellence.
The ecosystem is also expanding with more accessories, including the addition of the new MB-N11 Power Battery Pack with vertical grip for the Z 6II and Z 7II. This new grip features convenient external controls for additional manual operation and customization, along with more comfortable portrait orientation shooting. While battery life is extended up to 1.9x10 (CIPA standard), the battery grip also includes a hot-swappable chamber, granting users the ability to remove or replace one battery while shooting for uninterrupted power - a true benefit for content creation. The vertical grip also adds a secondary USB-C port for standalone charging and simultaneous communication with other devices.
Additionally, Nikon has announced new wireless transceivers for remote triggering and radio-controlled lighting, the WR-R11a and WR-R11b. The new wireless transceiver units use radio frequencies to communicate and are designed for users who need minimal release lag when shooting wirelessly, or those that use one or more remote flashes (AWL). The user can control additional remote cameras simultaneously using the WR-T10 remote, or via a main camera equipped with the WR-R11a/b. The WR-R11a uses a 10-pin connector, while the WR-R11b connects through the accessory terminal that can be found on Z series mirrorless cameras and select DSLRs. The units can also trigger Nikon radio-controlled flash units, such as the popular SB-5000 Speedlight, without the need for an additional receiver unit. Engineered with a new hinged design, the WR-R11a increases durability when attached to a camera.
Pricing and Availability
The Nikon Z 7II will be available in December 2020 in two configurations, body-only for a suggested retail price (SRP) of $2,999.95* and a one-lens kit with the NIKKOR Z 24-70mm f/4 for an SRP of $3,599.95*. The Nikon Z 6II will be available in November 2020 and will also be available in two configurations, body-only for an SRP of $1,999.95*, and a one-lens kit with the NIKKOR Z 24-70mm f/4 for an SRP of $2,599.95*. The MB-N11 Battery Pack with vertical grip will be available in November 2020 for an SRP of $399.95. The WR-R11a and WR-R11b (sold separately) will be available in December 2020, and each will have an SRP of $199.95 for the controller only. They will also be available as a set including the controller and the WR-T10 wireless remote controller for an SRP of $279.95.
The New Nikon Z 7II and Nikon Z 6II on Amazon.com
What Camera & Lens Should I Buy for Real Estate Photography?
I sometimes get asked by people who are getting started in real estate photography what camera and lens they should buy. Do you need an expensive camera for real estate? Do you need an expensive lens? Is it better to spend more money on the lens than the camera? What focal lengths are typically used? This article will hopefully give readers an idea of what cameras are currently available, the pros and cons of various cameras, and some info about lenses. This information can be applied to really any genre of photography, and I will also talk a little bit about the state of the industry.
See also: My extensive article/rant about tripods
See also: Real Estate Photography Techniques for Beginners
See also: DJI Air 2S Reviewed vs. Phantom 4 Pro
I sometimes get asked by people who are getting started in real estate photography what camera and lens they should buy. Do you need an expensive camera for real estate? Do you need an expensive lens? Is it better to spend more money on the lens than the camera? What focal lengths are typically used?
This article will hopefully give readers an idea of what cameras are currently available, the pros and cons of various cameras, and some info about lenses. This information can be applied to really any genre of photography, and I will also talk a little bit about the state of the industry.
Let’s get to it!
This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. As an Amazon Associate I earn from qualifying purchases. Thanks!
Mirrorless vs. DSLR
It’s 2020, and essentially all major camera manufacturers are moving to mirrorless. Sony was the mirrorless pioneer, but now Canon and Nikon are putting most of their efforts into mirrorless. I highly recommend getting a mirrorless camera, which will allow you to use the vast majority of new lenses released by camera manufacturers in the future. If you get a mirrorless camera body with a Canon R mount, Nikon Z Mount, or Sony E Mount, you will also be able to use all of the manufacturers’ older DSLR lenses by purchasing one of their adapters. Camera manufacturers’ newest camera bodies and lenses are going to be mostly mirrorless going forward. (See also: my article about how Canon’s recent mirrorless cameras blow away their previous DSLR’s in shadow recovery)
The best choice: Mirrorless
Full-Frame vs. APS-C
Cameras referred to as “full-frame” have larger sensors than cameras referred to as “APS-C” or “crop sensor” cameras, and so they tend to produce images with better detail and more dynamic range. Full-frame cameras have sensors that are 36x24mm wide, and APS-C camera sensors are around 23x15mm but vary slightly by brand.
In the past, camera manufacturers have released a wide variety of APS-C camera & lenses alongside a wide variety of full-frame cameras & lenses. The two camera sensor sizes and their lenses lived side by side in vibrant and profitable markets, bringing home the Benjamins to the camera manufacturers. Think of how popular and well known Canon’s Digital Rebel series was (APS-C camera)! However, I think that is changing. In my opinion, camera companies are going to be putting significantly less effort into APS-C than they have in the past, and focus most of their R&D efforts on full-frame.
The improvement in smartphone camera quality continues to reduce the market for low end camera bodies, and point-and-shoot camera have plummeted. As smartphone camera quality continues to improve, people will use dedicated low-end cameras in fewer situations. At the high end of photography we have full-frame or medium format. Phone photography can’t touch the high end. In the middle, we have APS-C cameras. Canon has already released a sub-$1,000 full-frame mirrorless camera, which essentially begins to place a psychological cost ceiling for APS-C camera bodies at $1,000. Why would you buy a crop sensor for more than $1,000 when you can get a full-frame sensor for less than $1,000? Sony and Nikon haven’t released a sub-$1,000 full-frame camera yet, but they probably are already working on it. This means we have smartphones replacing more of the low end, and full-frame cameras starting to occupy price ranges previously reserved for the mid-range. APS-C cameras are still cheaper and there are lenses available for a variety of purposes, but I think there will be fewer APS-C lenses released in the future as that market shrinks.
All that is to say, full-frame cameras not only produce higher quality images, but they are probably more likely to be future-proof. If you buy an APS-C camera body and some lenses for it now, you may end up having to sell all your APS-C lenses if you upgrade to a full-frame camera body later, and start over with a bunch of full-frame lens purchases. If you start with full-frame now, you can start building a lens collection that will probably be compatible with your future camera body purchases. People tend to keep lenses longer than camera bodies, because lens technology advances slower than camera body technology.
The best choice if your budget can swing it: Full-Frame
Canon EOS R5
Canon EOS R6
Canon EOS R
Canon EOS RP
Nikon Z5
Nikon Z6
Nikon Z7
Sony a7R IV
Sony a7R III
Sony a7R II
The real estate photography cameras for a limited budget: APS-C
Camera Brands
Canon, Nikon, and Sony have been the primary three camera manufacturers in recent years. In 2019 Canon had about 45% of the overall camera market, Sony had about 20%, and Nikon had about 18%. Sony has been doing extremely well with full frame and mirrorless sales, however. Sony has been in the full-frame mirrorless game since 2013, with Canon and Nikon entering in 2018. Canon’s first full-frame mirrorless offerings were not good enough to match Sony, but now that they’ve released their flagship EOS R5 and EOS R6 in 2020, their mirrorless cameras are among the best.
Nikon has not released a new “flagship” full-frame mirrorless camera since 2018. They recently released the Nikon Z5, which is simply their cheapest full-frame mirrorless camera. But as I am writing this article, Nikon has an event scheduled where they will release information about their new Z6 II and Z7 II full-frame mirrorless. Hopefully they will continue to remain competitive with Canon and Sony, because competition makes cameras better for photographers!
As I mentioned earlier, Canon is currently the only brand making a sub-$1,000 full-frame mirrorless with the Canon EOS RP. Even though it’s the cheapest full-frame mirrorless you can get, any Canon RF lenses you buy to use with the RP will work with Canon’s future high-end camera bodies when you want to upgrade. It will be interesting to see how long it takes Sony and Nikon to follow Canon in breaking the $1,000 price point. Keep in mind that if you get a more expensive full-frame mirrorless than the $999 Canon EOS RP to you can get more features, better dynamic range, more megapixels, more photos per second, etc. But you don’t need any of those things for real estate photography! The camera’s dynamic range is not as important as in many other photography genres because your subject doesn’t move, and you can exposure bracket your scenes. You can put your camera on a tripod and take several photos that are 1 stop apart, then manually blend them in Adobe Photoshop or quickly merge them to HDR in Adobe Lightroom. You don’t need fantastic autofocus because you aren’t photographing birds in the Amazon. Buying the cheapest full-frame mirrorless available to get started in real estate is not a bad idea, especially with a limited budget. If you are going to be using the camera in multiple genres, like weddings or night photography, you might start to run into a cheaper camera’s limitations more quickly than a high-end model.
Camera Body Price Point Winner: Canon
One of the reasons people go with one camera brand or another is available lenses. I’m not going to jump into the world of 3rd party lenses right now (Sigma, Tamron, Rokinon, Zeiss, Samyang), but here are some lenses that will be able to get you through any real estate photoshoot, whether interior or exterior. All of these lenses can be used on the corresponding camera brand’s mirrorless camera bodies without an adapter, and are (in my opinion) the focal length sweet spot for your first real estate photography lens purchase. Keep in mind you can’t use a lens made by one brand with another brand of camera body (e.g. you can’t use a mirrorless Sony lens with a mirrorless Canon body or vice versa).
Full-Frame Mirrorless Lenses
Canon RF 15-35mm F2.8 L IS USM
Sony 16-35mm Vario-Tessar T FE F4 ZA OSS
Canon’s lens is faster (f/2.8 vs f/4) than the Sony or Nikon lenses I selected above and has the biggest zoom range. As a result it’s about $1,000 more expensive. Canon does not currently have a cheaper full-frame mirrorless (RF mount) do-it-all real estate lens. They do have an older EF-mount lens (for their previous DSLR’s) that you could use with an adapter for a similar price point (below), but since Sony and Nikon have cheaper mirrorless mount real estate lenses I’ll give them the price point win.
Canon EF 16-35 f/4 IS USM
Canon Mount Adapter EF-EOS R - the adapter required to use a Canon EF lens with one of their mirrorless camera bodies
Full-Frame Mirrorless Do-It-All Real Estate Lens Price Point Winners: Sony & Nikon
APS-C Mirrorless Lenses
If you end up going with an APS-C mirrorless camera body, then here are the lenses you could use. Notice the focal lengths all seem shorter than the full-frame lenses. That’s because APS-C (crop sensor) cameras have a 1.5x or 1.6x crop factor, so in order to be as wide as a full-frame camera you have to have wider focal ranges in the lenses.
Canon EF-M 11-22mm f/4-5.6 STM
Since Nikon’s mirrorless APS-C real estate lens doesn’t exist, I’ll give the win to Canon and Sony. You can still use the Z50 for real estate but you’d have to use an older lens with an adapter.
Nikon Mount Adapter FTZ
Nikon AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR
APS-C Mirrorless Do-It-All Real Estate Lens Winners: Canon & Sony
Understanding Focal Lengths in Real Estate Photography
The reason I chose specific lenses for this real estate specific article is their focal length ranges. Most real estate work can be done from around 16-17mm up to around 30-35mm (when dealing with full-frame focal lengths). When you are trying to capture an entire bedroom or the expanse of the main living areas, you may find yourself wanting to be below 20mm. When you are photographing the details, the kitchen, or exteriors of a home, I tend to like to be at a longer focal length, like 24-35mm. Having a single zoom lens that allows you to handle any of these focal length ranges will allow you to move quickly through a photoshoot without changing lenses. If you get to a point in your career where you get to spend more time during photoshoots you could start using specialized lenses like tilt shift lenses or longer focal lengths, but for anyone who is just getting started it is extremely valuable to have your workhorse lens that can handle the entirety of any job.
Wider focal lengths tend to exaggerate the size of whatever objects are close to the camera, and longer focal lengths tend to make everything in the frame a more appropriate size. If you can fit everything you want in a shot at a longer focal length the composition will probably be more pleasing, but in many cases a realtor will want you to show the whole room or make rooms look big. If you look at real estate photos on Zillow or your local MLS the interior photos tend to be fairly wide in general. If you are just starting you should probably provide wide photos that show the whole room to the realtors that hire you and use longer focal lengths on the exterior. As you practice composition you might start finding ways to capture rooms using longer focal lengths in ways that the realtors appreciate, but you will probably start out with lots of clients that want wide interior photos for selling houses.
Summary
Hopefully this article gives you enough information to get started. You really could get started with any brand of camera and lens, but I would definitely go with a full-frame mirrorless if you can make it work. Not only will full-frame cameras produce better images, but they are cheaper than ever before and full-frame lenses can be used on your next few camera bodies as well. I will try to update this article as new products come out in the future, but for now here is a summary of the products mentioned in this article. If you found it helpful and use one of these links, I’ll get a small commission. Thanks!
Products Mentioned in this Article
Canon Cameras
Canon EOS R5
Canon’s Best Full-Frame Mirrorless
Canon EOS R6
Canon’s Mid-Range Full-Frame Mirrorless
Canon EOS RP
Canon’s Cheapest Full-Frame Mirrorless
Canon EOS M50
A Canon Mirrorless APS-C (Lower Cost than Full-Frame, but compatible lenses are probably less future-proof)
Canon Lenses
Canon RF 15-35mm f/2.8L IS USM
A very fast, expensive, sharp full-frame mirrorless lens that can handle everything from real estate to astrophotography.
Canon EF 16-35 f/4 IS USM
An older, cheaper canon lens that you can use on a full-frame mirrorless with an adapter.
Canon EF-M 11-22mm f/4-5.6 IS STM
A Canon APS-C lens that is only compatible with the M50
Sony Cameras
Sony a7R IV
Sony’s Highest Megapixel Full-Frame Mirrorless Camera
Sony a7R III
A mid-range Sony Full-Frame Mirrorless Camera
Sony a7R II
A lower-cost Sony Full-Frame Mirrorless
Sony a6100
A Sony Mirrorless APS-C (Lower Cost than Full-Frame, but compatible lenses are less future-proof)
Sony Lenses
Sony 16-35mm Vario-Tessar T FE F4 ZA OSS
A reasonably priced lens for your full-frame mirrorless Sony camera that can handle any real estate job
Sony E 10-18mm F4 OSS
An APS-C lens for your Sony a6100 with an ideal real estate focal range
Nikon Cameras
Nikon Z7
Nikon’s Best Full-Frame Mirrorless
Nikon Z6
Nikon’s Mid-Range Full-Frame Mirrorless
Nikon Z5
Nikon’s Cheapest Full-Frame Mirrorless
Nikon Lenses
Nikon Z 14-30mm f/4 S
A lens for Nikon full-frame mirrorless with a good real estate focal range
Nikon AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR
An APS-C lens to use with the Nikon Z50, but it requires an adapter
Megapixels vs. Sensor Size: Can the Mavic Air 2 Beat the Phantom 4 Pro?
I got ahold of a Mavic Air 2, and I just had to know how its higher resolution images compared to the 20 megapixel Phantom 4 Pro and its 13.2 x 8.8mm sensor. If the sensor sizes were the same, I would expect the sensor with more pixels to be the winner. But how do they compare when the higher resolution photos are from a much smaller sensor (6.4 x 4.8mm)? Let’s take a look.
See Also: DJI Drone Sensor Size Comparison Page
See Also: DJI Air 2S Review: Has DJI Finally Created a Superior Successor to the Phantom 4 Pro??
See Also: DJI Mavic 3 vs. DJI Air 2S - Image Quality Tests, Comparison and Review
See Also: Pelican 1400 Protector Case - A Customizable Waterproof Case for DJI Mavic Series Drones
( This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. As an Amazon Associate I earn from qualifying purchases. Thanks!)
When DJI announced the Mavic Air 2, I was a bit surprised at its max photo resolution of 8000x6000. Why, that’s 48 megapixels from a 6.4 x 4.8mm sensor! Considering all their more expensive drones with larger sensors produce images around 20 megapixels, what is going on with the camera on this new little drone?
I have had a Phantom 4 Pro for a few years, and they haven’t really released a sub-$2,000 drone with a better camera (as of July 2020). The Mavic 2 Pro is the closest to the Phantom 4 Pro with the same sensor size and photo resolution (though it is 28mm instead of the Phantom 4 Pro’s 24mm), but the Phantom 4 Pro from November 2016 still has better video specs than the Mavic 2 Pro.
2021 Update: DJI has now released the DJI Air 2S (also known as the Mavic Air 2S) which is a MUCH better drone than the Mavic Air 2. See my other article that tests the image quality of the DJI Air 2S vs. the Phantom 4 Pro.
I got ahold of a Mavic Air 2, and I just had to know how its higher resolution images compared to the 20 megapixel Phantom 4 Pro and its 13.2 x 8.8mm sensor. If the sensor sizes were the same, I would expect the sensor with more pixels to be the winner. But how do they compare when the higher resolution photos are from a much smaller sensor? Let’s take a look.
For the first shot, I took both drones to a lake:
The first thing I noticed is the Mavic Air 2’s max resolution is a 4x3 ratio (like a smartphone), whereas the more expensive drones (and most professional cameras) have a 3x2 ratio.
Both images seem great overall, so let’s take a closer look. For the first crop, I zoomed way in to the house on the little pointe in the upper left corner of the main shot:
The first thing I notice when comparing these two crops is that the Phantom 4 Pro seems to produce a much “cleaner” image with less random noise overall. The Mavic Air 2’s noise has the effect of making the image look like it was painted onto a rough texture when we are zoomed in extremely far. The Phantom 4 Pro (P4P) handles the trees with more sharpness and clarity, and produces less noise on the water. The brown house looks sharper and cleaner on the P4P with a sharper, cleaner, more defined shape.
One area I might give a win to the Mavic Air 2 (MA2) would be the shape of the boats to the right of the house. The MA2 picked up the shape of the boats better than the P4P, though there is a bit of noticeable color fringing.
The next crop is the closer house in the middle of the main images:
Again we can see the P4P produces a cleaner image overall. The window lines are more clearly defined and less noisy, the trees are more natural looking and defined, and the shingles on the roof look more natural and defined.
It is interesting to look at the MA2’s effect on the roof shingles at this extreme level of zoom… it’s almost as if the roof shingles have completely changed into an entirely different pattern.
That’s not to say the MA2 lost in every way… I think it did a better job of defining the curved line where the grass meets the cement, and a nicer job with the curved steps on the back patio area. I also think the MA2 did a better job defining the patio furniture in the upper left corner of this crop, and some of the roof lines seem sharper and more defined.
The last crop at the lake will be the boat, lift, and dock to the left of the houses in the middle of the main images:
In the above cropped images the P4P handles the tree leaves much better on the right. The MA2 turns the leaves into odd shapes that almost look like a painting. The P4P also did a better job with the water, as you can see the waves & ripples more clearly defined with less noise. The P4P also has less color fringing on the bright areas like the dock and raft.
The MA2 managed to define the shape of the blue boat lift canopy by the dock better, albeit with more noise than the P4P.
For the next setting I went to a park located north of Grand Rapids, Michigan, and took a shot facing south towards the city. Below are the main shots, which seem similar in quality and would be fine to use in most professional projects:
The first crop will be the big building to the right of the river:
The P4P handles the windows and lines on the buildings in this crop much better, with less noise and a more defined & natural look. The buildings and trees in the background are cleaner, sharper, and more defined. The supports under the nearest bridge are also clearer and sharper. Nothing in this crop jumped out at me as looking better on the MA2.
The next crop we can meticulously analyze will be the buildings in the distance to the left of the river:
I will have to give the win to the Phantom 4 Pro! Cleaner, sharper, more defined, more natural looking.
The MA2 does seem to have more sharpness and definition in the construction crane on top of the building though.
The last crop of the city photos will be some of the closer buildings to the left of the river:
In the above crops it seems like the MA2 again pulls a little more definition in the construction cranes. In this image I found it a little tougher to declare a winner, but the P4P does do a better job with the lines and windows on buildings. The P4P also better defines the tree line and buildings in the background near the upper right corner.
For the final photo location, I took the Phantom 4 Pro and the Mavic Air 2 to a golf course on a hot, hazy summer morning:
The first crop will show the area directly in front of the clubhouse:
In the above crop, the MA2 seems to pull more definition if you look at the roofs on the golf carts. But if you look at the shadow of the big tree in the upper left corner, there is a lot more noise in the MA2 image. Also, the P4P continues to handle the appearance of tree leaves much better (especially the tree on the right).
Next, we’ll zoom in to the shed by the little pond:
If you look at the door on the shed and the shingles on the roof, the P4P shows less noise and more definition, contributing to a more natural look. The water is less noisy on the P4P photo, and… this is the last time I will need to say it… but the leaves and grass on the P4P are more defined.
In the last comparison crop, we’ll take a look at the cars in the parking lot. This was a useful crop because it shows a big difference between the two cameras:
Look at all the sun glares on the cars in the MA2’s photo, and you will see… rampant purple! Look at the same glares in the P4P images, and you see the purple fringing is much more controlled. Wherever you have high contrast bright spots, you will often see purple fringing on the MA2.
I cranked the purple defringe amount to 7 under Adobe Lightroom’s manual lens correction panel, and here is the result:
Lightroom was able to correct the purple fringing for the most part, so that’s good that it’s a fairly easy fix.
Conclusion
I wanted to answer the question, “Are megapixels more important than sensor size?” I think we can answer that question with a “probably not.” In this case, the larger sensor on a 2016 Phantom 4 Pro was able to produce generally better images than a smaller sensor from 2020, even though the smaller Mavic Air 2 produces images with more than twice as many pixels. The P4P’s images were cleaner and handled trees, water, and buildings with more clarity & detail.
(I use the phrase “probably not” because the Mavic Air 2 from 2020 would beat a 6 megapixel APS-C camera sensor from 2006, but that’s obviously an extreme comparison)
That being said, whether you use a Phantom 4 Pro, Mavic 2 Pro, or Mavic Air 2, you have a more than capable drone that can capture quality photos & video for a variety of projects in a variety of environments. It will be hard to tell the difference between an image produced on a Mavic Air 2 and a Phantom 4 Pro (other than the aspect ratio) when you’re looking at the entire image. Whether you’re shooting aerial photos for real estate, landscape photography, or for fun, any of these drones are great options! So here are some additional thoughts I have on the Mavic Air 2 that may help you decide if it’s right for you.
Mavic Air 2 Pros
Super compact, easily fits in a camera bag or carry-on bag
Propellers fold in for transportation without detaching them
Relatively quiet and unobtrusive (especially compared with a Phantom 4 Pro)
Costs half as much as a Phantom 4 Pro or Mavic 2 Pro
Super simple remote app for beginners
Produces great images for most purposes
Only with extreme cropping & zooming will you notice a benefit with the larger, more expensive drones
Mavic Air 2 Cons
Bigger & more expensive drones produce moderately better images that may be helpful for larger prints
I feel like it is more likely to be attacked by or accidentally collide with birds than a larger, louder drone (fortunately I haven’t personally confirmed this)
Remote app and camera options might feel too limited and minimal for professionals (you have to use “DJI Fly,” not the “DJI Go” app)
If you want burst shooting or Automatic Exposure Bracketing (AEB), you have to shoot at 12 megapixels, not 48
2021 Update: DJI has now released the DJI Air 2S (also known as the Mavic Air 2S) which is a MUCH better drone than the Mavic Air 2. See my other article that tests the image quality of the DJI Air 2S vs. the Phantom 4 Pro.
Hopefully this article has been helpful. If you want to support more articles like this, feel free to use any link on this page if you make a purchase. Thanks!
Side Note: This test is also relevant when considering how modern day smartphones are starting to have huge megapixel numbers that are higher than the megapixel numbers of large full-frame cameras. Does that mean that smartphones are as good as full-frame cameras?? The answer is “probably not,” because full frame cameras have much larger sensors.
Products Mentioned in this Article on Amazon
Canon Announces New R5 and R6 Cameras, Begins Pre-orders
MELVILLE, NY, July 9, 2020 – With anticipation at a fever pitch, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the company’s next generation of full-frame mirrorless cameras – the EOS R5 and EOS R6. These groundbreaking cameras are the result of many years of collecting and listening to feedback from Canon users and are sure to meet the needs and demands of a variety of creators. The EOS R5 is a camera designed for professional applications featuring a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps.
The Secret Is Out: Canon Officially Announces The Canon EOS R5 and R6, The Company's Most Advanced Full-Frame Mirrorless Cameras Ever
The Company is Also Announcing Four RF Lenses, Two RF Lens Extenders, and a PRO Printer
( This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. As an Amazon Associate I earn from qualifying purchases. Thanks!)
MELVILLE, NY, July 9, 2020 – With anticipation at a fever pitch, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the company’s next generation of full-frame mirrorless cameras – the EOS R5 and EOS R6. These groundbreaking cameras are the result of many years of collecting and listening to feedback from Canon users and are sure to meet the needs and demands of a variety of creators. The EOS R5 is a camera designed for professional applications featuring a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps. The EOS R6 is geared towards advanced amateurs featuring a 20.1-megapixel full-frame CMOS sensor and 4K video recording up to 59.94 fps. The addition of the EOS R5 and the EOS R6 cameras within the EOS R series lineup further solidifies Canon’s commitment to providing the equipment needed for users to bring their content to the next level.
Canon is also introducing four RF lenses and two RF lens extenders: The Canon RF100-500mm F4.5-7.1 L IS USM, Canon RF600mm F11 IS STM, Canon RF800mm F11 IS STM, and RF85mm F2 MACRO IS STM lenses. All four new lenses were designed to meet the ever-expanding demands of the skilled creatives who capture amazing imagery using EOS R series cameras, including the new EOS R5 and EOS R6. In addition to the lenses, there are two new RF lens extenders, a 1.4x and a 2x model, allowing for users to take their compatible RF lens focal lengths even farther, and a 13-inch professional printer, the imagePROGRAF PRO-300, to bring photos to life through the power of print.
“For all of the Canon research and development team members who worked tirelessly on the production of these new products, today marks the culmination of a long journey. For those people looking for the next great tools to work with to expand their creative possibilities, the door is now wide open,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The industry has asked for new products that can push their levels of creativity to new heights, and we are confident that the EOS R5 and EOS R6, alongside the new lenses, lens extenders, and the pro printer, will fulfill those needs and more.”
Canon EOS R5 and EOS R6
Both the EOS R5 and EOS R6 cameras have the ability to capture the action of a variety of fast-moving subjects with impressive accuracy and speed. When using the mechanical shutter, each can shoot up to 12 fps and up to 20 fps when using the completely silent shutter. Both cameras are the first to be outfitted with Canon’s advanced Dual Pixel CMOS AF II which utilizes up to approximately100 percent coverage of the AF area and EOS iTR AF X incorporating AF tracking algorithms using deep learning technology and enhanced readout speed of the CMOS sensor and processing speed thanks to the DIGIC X image processor. The 1,053 automatically selected AF Zones are made even more potent by the ability to detect the human eye, face or head as well as the eye, face or body of animals such as dogs, cats and even birds[i]. Adding to the feature set is the 5-axis In-Body Image Stabilizer, having coordinated control with Optical Image Stabilizer in IS equipped RF lenses. This provides up to 8 stops[ii] of shake correction, a feature that many creators have long asked for from Canon. Both the EOS R5 and R6 cameras come with a new LP-E6NH battery with a higher capacity than the previous model.
As the new flagship model in the EOS R series lineup, the EOS R5 camera has features that pack a punch for a variety of users who create both still and video content. It has a powerful 45-megapixel full-frame CMOS sensor and is driven by the speedy DIGIC X image processor, giving wide dynamic range as well as boasting an ISO range of 100-51,200 that is expandable up to 102,400[iii]. In a camera full of eye-popping features, one that really stands out is the ability to record uncropped 8K RAW internal video recording up to 29.97 fps and 8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). The camera can also record 4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). External recording in 4K is also available up to 59.94 fps. When in DCI modes, the 8K and 4K video recording is uncropped and Dual Pixel CMOS AF II is available in all 8K and 4K recording modes. Additional features of the EOS R5 camera include:
Dual-card slots: 1x CFexpress[iv] and 1x SD UHS-II[v]
Built-in 0.5-inch OLED EVF with approximately 5.76 million dots and a 119.88 fps refresh rate[vi]
3.2-inch 2.1 million dots vari-angle LCD touch screen
5GHz/2.4GHz Built-in Wi-Fi®[vii] and Bluetooth[viii] Technology with the ability to utilize the image.canon application, as well as optional WFT-R10A wireless file transmitter with Ethernet support
Enhanced operating controls such as rear-dial, multi-controller
The ability to voice tag photos and videos
Weather, drip and dust sealing on par with the EOS 5D series
The EOS R6 camera is well-equipped with a host of new features to push the limits of creativity for imaging enthusiasts. The combination of the EOS-1D X Mark III based 20.1-megapixel full-frame CMOS sensor and the DIGIC X image processor produces an ISO range of 100-102,400 and is expandable to 204,800. Internal video recording at 4K is capable up to 59.94 fps or 1080p up to 119.88 fps in 10 bit 4:2:2 Canon Log(H.265) or HDR PQ(H.265). The camera also features a built-in 0.5-inch OLED EVF with approximately 3.69 million dots and a 119.88 fps refresh rate[vi]. Additional features of the EOS R6 camera include:
Dual UHS-II SD card slots
3-inch 1.62 million dots vari-angle LCD touch screen
2.4GHz Built-in Wi-Fi®[vii] and Bluetooth Technology[viii] with the ability to utilize the image.canon application
Enhanced operating controls such as rear-dial, multi-controller
Weather, drip and dust sealing on par with the EOS 6D series
Pre-orders Now Available on Amazon
Don't Let an Inadequate Tripod Do *This* to Your Photos! (Highly Detailed Rant)
An inadequate tripod can cause you problems you didn’t even know existed. This article looks at what types of tripods are available, and what you can expect at different price points.
(Why starting out with a better tripod than you think you need will save you time, money, and frustration)
When I first thought I might want to try part-time real estate photography in 2012, I had the same thought as many beginners: “I’ll put all my money into a sweet camera and lens! Oh, and I guess I should stop at Best Buy and grab a $20 tripod or something.” Ha! If only I could go back and give my younger starry-eyed self some help. =) I suppose that’s what I’m doing now for others who might be getting started in some type of photography that is new to them, whether for money, fun, or both.
This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. As an Amazon Associate I earn from qualifying purchases. Thanks!
The dreaded “Single Exposure Jiggler”
Before buying a new tripod, it’s important to think about why you are buying a tripod, and what you want the tripod to do. Is it so you can take longer exposures in low light or in the daytime with a Neutral Density Filter? Are you going to be shooting multiple exposures from the same spot with varying shutter speeds in order to create High-Dynamic-Range (HDR) photos? Are you going to be compositing images in Photoshop and need multiple images to line up precisely? Do you want to capture star trails in the night sky over the course of 2 hours? Do you need to quickly move through a house and compose 30 shots for a real estate photoshoot?
Whatever your intentions may be, consider the basic function of a tripod: to consistently hold your camera still enough for the amount of time required to capture the photo(s) you want to take.
When you hold a camera with your hand and take a photo, you have to use a shutter speed fast enough for the camera sensor to capture light before your hand moves too much. The general rule for a full frame camera (with no image stabilization in the lens or camera body) is a shutter speed “number” that is at least twice as high as your focal length. If you have a focal length of 20mm, your shutter speed should be at least as fast as 1/40th of a second. If you have a focal length of 50mm, your shutter speed should be at least as fast as 1/100th of a second. This is just a general rule… if you happen to move your hands too much (or sneeze) at the time the photo is being taken, it can certainly still end up being blurry.
If your hands move too much or your tripod jiggles while your camera is capturing light, you can end up with a blurry photo.
Camera manufacturers have tried to address these shutter speed limitations with stabilization mechanisms built into both camera bodies and lenses. If your camera and/or lens has stabilization built in, you can slow the shutter speeds down a little bit and push the limits of shutter speed guidelines. But even then, shutter speeds will be a limitation in many scenarios. There is a solution to the problem of shutter speeds though, and the solution is… use a tripod!
By mounting your camera on a tripod, you can keep the camera in one place and take very looooooonnnnng exposures or take multiple exposures to your heart’s content, and they will all align perfectly for compositing in Photoshop… right?
The answer is… it depends.
Here are some considerations:
How heavy is your camera?
Is your camera DSLR or mirrorless?
How heavy is your lens?
What focal length is your lens?
Are you using the camera in a windy environment?
Are you planning on extending the center column for additional or quickly adjustable height?
What is the weight limit of the tripod?
What is the tripod made of (typically $ aluminum or $$$ carbon fiber)?
Do you need to composite multiple images?
Will you be taking a very long single exposure or compositing multiple exposures taken over a long period of time?
Is the tripod built by a company that is known for making great tripods?
When I first started part-time real estate photography in 2012 and used super cheap tripods, I had tripods that would actually “jiggle” when I took a photos, even if I was using a remote trigger. This is because the mirror mechanism in my DSLR at the time would cause vibrations, and combined with a raised center column, the little vibrations from the mirror were strong enough to “jiggle” the tripod & camera. This was especially noticeable when I upgraded from APS-C sensor DSLR camera to a full frame DSLR. This dreaded jiggle would occasionally result in a completely unusable photo! Fortunately, I was taking multiple exposures and could edit my way out of those situations, but when it happened it disrupted my workflow and wasted time. Cheap tripod jiggles can also occur if you’re using a flimsy tripod outdoors for longer exposures when it’s windy.
The Treacherous “Multiple Exposure Drooper” (aka Long Exposure Droop)
Let’s say you have a lovely clear night ahead of you, so you pack some snacks and drive 2 hours to a dark sky park. You figure out the perfect composition, and you setup your new camera with a nice sharp lens. You prepare to take 30-second exposures continuously for 2 hours to create star trails, or maybe a 60-minute single exposure in the dark sky park. So you adjust the tilt of your fancy camera & fancy lens on your (inadequate) tripod head so your composition is perfect and begin shooting. But, by the time you’re done shooting, gravity has pulled your lens down noticeably (or not-so-noticeably) from it’s original position! Bummer, now that image will either be a pain to edit or no good at all! At least you brought snacks to eat while you drive home crying. =)
“Multiple Exposure Droop” can affect your images even if you’re composite shooting with an inadequate tripod head over a short period of time, such as for real estate or architecture. You take a few natural light shots, then you walk around while taking a few flash-lit shots, and unbeknownst to you, the flash-lit shots are slightly misaligned with the natural light shots. Now you have to spend extra time messing around in Photoshop! This happens when your ball head, 3-way head or geared head falls down slightly because of gravity and/or vibrations.
When your tripod head can’t maintain a precise position for a long period of time, misaligned or blurry images can be the result when composite shooting or taking very long exposures.
When I first started I merely intended to shoot simple HDR with no compositing, so I wasn’t aware of “Multiple Exposure Droop” or “Single Exposure Jiggles.” The first tripod I owned (tripod model #1) was super cheap and flimsy, and eventually a leg lock mechanism broke, so I bought another super cheap one, which also broke. I upgraded to a better tripod (tripod model #2), though still relatively cheap (around $75 at the time). One of those legs broke, and the company sent me a replacement leg. But that tripod was flimsy and jiggly, so I upgraded to a name-brand tripod (tripod model #3) that was around $175. That tripod still jiggled with the center column up (which I used frequently for quick adjustments during real estate shoots), but by this time I was doing more compositing with flash and discovered that ball head suffered from “Multiple Exposure Droop.” So, I upgraded to a super heavy duty tripod (tripod setup #4) with a 3-way super heavy duty head (around $500 total) and assumed I was all set. I solved the issue of jiggle, but discovered that despite the tripod and head having maximum payload weights many times higher than the weight of my camera + lens, it still suffered from lens droop when setup for a long period of time! So, I sold that, and a got heavy duty carbon fiber tripod with a heavy duty geared head (tripod setup #5)… and now the camera seems to sit still. No drooping or jiggling. =)
I often think about how much time I would have saved if I had started out with my current tripod and head. I created around 34,000 finished images over the past several years in the realm of real estate & architecture, and most of them were created with inadequate tripods & heads. Since I often composite images, I think about all the time I previously used to spend aligning images that were misaligned due to the tripod head drooping, the tripod legs sliding around, or the occasional workflow interruption caused by a tripod jiggling. Photoshop’s “Auto-Align Layers” doesn’t always work perfectly. I also think about how much faster geared heads are for real estate & architecture and how much time I would have saved if I had a geared head from the beginning. While everybody has different goals and different situations, I ultimately would have saved time, money, and frustrations if I had bought a high end tripod up front, rather than discover the inadequacies of multiple tripod setups as I progressed through various models.
“I ultimately would have saved time, money, and frustrations if I had bought a high end tripod up front, rather than discover the inadequacies of multiple tripod setups as I progressed through various models.”
That being said, not everyone needs a high-priced, heavy duty tripod. If I had been content shooting HDR photos for real estate without doing any complex compositing and used a wide angle lens with an APS-C mirrorless camera, I could have easily gotten by with a sub $200 tripod.
In an effort to help others trying to figure out what types of tripods are available, I have a few categories of tripods listed below, along with what you could expect from each based on my experiences. Most of the categories reference using them for professional work, but if you’re looking at tripods for your photography hobby, the sky (and your checking account balance) is the limit! =)
The $20 Sunpak Special
This is about as cheap as it gets for something that can technically be called a tripod. It may break after moderate use, but if you are playing around with a lightweight camera for fun, you could technically buy a tripod for around $20, probably from Sunpak or Amazon Basics. Its legs will probably slide around, it will probably jiggle, and it probably won’t be able to hold a camera in precise position for an extended period of time or for multiple exposures. Maximum payloads for this category of tripod will probably be 4-6 lbs.
The $100-200 “I-Just-Broke-My-Sunpak-Now-I’m-Upgrading” Tripod
For when you’ve broken the legs on your $20 Sunpak and know some realtors who want to pay you to take HDR photos of their listings, the $100-200 tripod/head combo can be adequate for many purposes. If you’re not doing a lot of complex compositing or long nighttime exposures, you could get a decent tripod for your mirrorless camera without breaking the bank. Brands to look at would be Benro or Manfrotto. As a side note, Benro monopods with feet are great stands for 360 cameras. Tripods in this price range might have a maximum safety payloads of around 9-17 lbs. I would not use a DSLR camera on one of these because the vibrations caused by the mirror will shake these tripods a bit… but a mirrorless APS-C camera should work fine for simple exposure bracketing.
The $300-900 “I’m-A-Professional-Photographer-and-Want-High-Quality-Support” Tripod
At this point, you’re serious about photography and are willing to spend at least a few hundred bucks for a functional tripod & head that project professionalism to your clients. You don’t necessarily need the tripod head to maintain a precise position for hours, but you’d like it to be stable and durable. At this level, you have to decide if you want carbon fiber or aluminum. Carbon fiber tripods are about 20% lighter than aluminum, and the legs are more rigid, but they are more expensive than aluminum. Manfrotto currently sells its 055 3-Section Tripod (legs only, no head) as aluminum or carbon fiber. They both have a 20-pound safety payload with the same height, but the carbon fiber version weighs 4.41 lbs whereas the aluminum version weighs 5.51 lbs. The carbon fiber version is currently $320, whereas the aluminum version is $180. Carbon fiber will probably be more pleasant to use in cold environments. Benro also sells the Mach3 2 Series Carbon Fiber Tripod (TMA27C) for around $310 with a 30 lb load capacity.
With tripod setups in this category, you might be buying legs separately from the head (instead of purchasing a kit), so make sure both will meet your needs.
If you’re doing a lot of architecture and real estate, you will definitely want to consider a geared tripod head. The more times you setup your camera and level it per hour, the more time you will save during each job with a geared head! With a ball head or standard 3-way head, you have to loosen the head and adjust the camera each time, which can be an imprecise and tedious process. One thing that can happens with many cheaper non-geared heads is that the camera moves slightly from the position you want when you are locking it down. For example, if you’ve gotten your composition perfect and it’s time to tighten the ball head, the act of tightening the head can move the camera slightly, and it won’t be precisely where you want it anymore. I found this to happen even with a heavy duty 3-way head with a 26.5-pound load capacity! With a geared head, you don’t have the problem of unlocking it, setting the position, and then locking it down again and hoping it stays in place… you just make the precise adjustment you want to make, quickly, accurately, and easily. Any real estate shooter should definitely consider it! Some geared heads in this price range would be the Manfrotto 405 Geared Head, the Manfrotto 410 (Junior) Geared Head, and the Benro GD3WH Geared Head.
If you’re looking for a good ball head, you could look at a Really Right Stuff BH-55, Gitzo GH3382QD Series 3 Center Ball Head, ProMediaGear BH-1 Ball Head, or the Arca-Swiss Monoball Z1.
At the upper end of the sub $900 tripod setups, Gitzo also has the Series 1 Traveler Carbon Fiber Tripod with Center Ball Head. Gitzo is the same company as Manfrotto & Bogen, but probably represents their higher-end products vs. the Manfrotto lines.
The $1,000+ “I-Want-To-Capture-2-Hour-Exposures-At-Night-In-High-Winds-At-600mm” Tripod
OK, so the title of this category of tripods is a mild exaggeration, but it summarizes some of the reasons you’d be looking at this class of camera support. Whether you’re shooting architecture, landscapes, star trails, or the milky way, you want your tripod and head to be durable, stable, “beefy,” and precise in a variety of environments. Some of the brands that produce the $1,000+ photography tripod legs are Really Right Stuff, Gitzo's Systematic Line, and ProMediaGear. The legs are all carbon fiber, and they are designed for stability when using big lenses and heavy camera setups.
Besides the legs, the tripod head is super important. Some of the ball heads mentioned in the previous section will be great options. Some high-end geared heads to consider would be the Arca-Swiss C1 Cube (probably the best tripod head available), the Arca-Swiss d4, or the Manfrotto 400 Geared Head.
Test Your New Tripod Setup During the Return Period
Since there are so many tripod legs and heads available, it’s a great idea to test out any new tripod during the return period to make sure it will do what you want to do. Don’t simply take the shiny new tripod out of the box and say, “looks good, and it wasn’t damaged in shipping.” Remember, as I mentioned previously, I discovered after it was too late that my $500 tripod setup allowed the lens to droop down slightly over time when doing complex compositing! (I did not link to that tripod in this article so as not to lead others astray, ha!)
If you’re going to be compositing images taken over the course of 10 minutes for architecture or milky way photography, set up the camera you’re going to be using and take pictures for 10 minutes. Then, see if the first images you take at the start of 10 minutes align with the last images you took over 10 minutes in Photoshop. If they don’t line up perfectly, is it close enough that you will be happy using it?
If you are going to be using the tripod with a super telephoto lens, setup the camera with that lens and take 10-20 photos, indoors and outdoors, at slow, medium & fast shutter speeds with the stabilizer both on & off to see if the camera vibrates too much for your purposes. Zoom into 4x in your editing program to see if the photos have motion blur.
Test any cameras and lenses you have with a new tripod, doing things that you will be doing for your job or for fun. Try to discover the limits of the tripod! If you find the tripod or head have trouble doing what you need to do or you’re already pushing its limits with normal tasks, it’s best to discover the issues and decide what to do when you still have the option to return them.
If the tripod setup is vibrating too much, the culprit usually would be the tripod legs and/or center column. If the camera lens seems to lose altitude while taking lots of exposures over the course of time, the culprit is probably the tripod head.
If you push the limits of your new tripod with long focal lengths, long exposures, and windy conditions and it does a great job in a variety of situations, you’re good to go!
I hope the frustrations I’ve experienced with several tripods over the years can be helpful to someone who is just getting started. There’s a lot of options, but if you buy a little more tripod than you need up front, you won’t regret it! =)
Canon Announces Development of the Mirrorless EOS R5
From Canon’s Press Release: “Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc., is developing the highly anticipated Canon EOS R5 full-frame mirrorless camera. The camera will feature a newly designed CMOS sensor and new image processor, along with new state-of-the-art optical technologies the company has been able to cultivate through its long history of groundbreaking camera and digital imaging solutions development. In addition, Canon plans to release seven RF lenses and two RF lens extenders that are currently in development. These new photography tools will help to continue to strengthen the EOS R system and cement the RF mount as an industry leader.”
The Canon EOS R5, an advanced new mirrorless camera under development.
From Canon’s Press Release:
“Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc., is developing the highly anticipated Canon EOS R5 full-frame mirrorless camera. The camera will feature a newly designed CMOS sensor and new image processor, along with new state-of-the-art optical technologies the company has been able to cultivate through its long history of groundbreaking camera and digital imaging solutions development. In addition, Canon plans to release seven RF lenses and two RF lens extenders that are currently in development. These new photography tools will help to continue to strengthen the EOS R system and cement the RF mount as an industry leader.
“Today’s announcement comes as a direct result of the tireless effort of Canon engineers who have been tasked with developing the next generation of Canon EOS R camera and RF lenses to help elevate the popular system that was announced in 2018,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “In developing the new camera, Canon listened to extensive user-feedback from a variety of photographers. The outcome is a camera and lenses that will delight a variety of shooters and further helps to demonstrate Canon’s commitment to full-frame mirrorless cameras and lenses.”
The EOS R System was initially developed to provide engineers with the ability to design lenses that were thought to be impossible to create previously. The wide lens mount diameter, shorter back focus, and high-speed system for transmitting data between camera and lens have resulted in an imaging system that delivers higher image quality and greater ease-of-use than ever before.
The new full-frame mirrorless camera currently under development will fully leverage the advantages of the EOS R System, helping to produce a camera that features high-speed continuous shooting and 8K video recording. Furthermore, the camera will provide photographers with more efficient workflows thanks to improved transmission functionality, operability and reliability. These enhancements, along with many others, will help to further elevate and solidify the EOS Series concept of “Speed, Comfort and High-Image-Quality.”
Canon’s EOS R5, the first of the next generation of full-frame mirrorless cameras planned for EOS R System, will include a newly developed CMOS sensor. The new sensor will enable enhanced features such as high-speed continuous shooting up to approximately 20 frames-per-second (FPS) when using the silent shutter and up to approximately 12 FPS when using the mechanical shutter – A feature professional sports and wildlife photographers will find to be extremely impactful on their ability to capture fast-moving subjects. From a video perspective, the camera’s 8K video capture capability will prepare videographers for the future of movie-making- capturing 8K footage today allows for even higher-quality 4K productions in addition to the ability to extract high-resolution still images from the video footage. The EOS R5 will be the first Canon camera equipped with IBIS (In Body Image Stabilization) and when used in conjunction with the extremely effective in-lens stabilization (IS), will allow photographers to handhold the camera in light levels not previously imagined. Additionally, the camera will also feature dual-card slots and will support the automatic transfer of image files from the device to the new image.canon cloud platform.
Alongside the EOS R5, Canon is also developing seven RF lenses and two RF lens extenders scheduled for release during 2020, including the RF 100-500mm F4.5-7.1 L IS USM, Extender RF 1.4x and Extender RF 2x.”
Nikon Announces the New D6 Full-Frame DSLR
Today, Nikon Inc. has unveiled the D6, a new professional-grade DSLR built for those in need of extreme reliability and ultimate performance. The D6 addresses the needs of professionals and press agencies and is faster and more powerful than ever before. Offering the most powerful AF system in Nikon’s history, this flagship DSLR camera delivers crucial improvements to modern workflow while also accelerating file transfer capabilities. Promising unparalleled low-light performance, powerful agility, advanced 4K UHD multimedia capabilities and a mechanical shutter frame rate boosted to a staggering 14fps, the D6 will redefine the way pros work.
From the Nikon Press Release:
“Today, Nikon Inc. has unveiled the D6, a new professional-grade DSLR built for those in need of extreme reliability and ultimate performance. The D6 addresses the needs of professionals and press agencies and is faster and more powerful than ever before. Offering the most powerful AF system in Nikon’s history, this flagship DSLR camera delivers crucial improvements to modern workflow while also accelerating file transfer capabilities. Promising unparalleled low-light performance, powerful agility, advanced 4K UHD multimedia capabilities and a mechanical shutter frame rate boosted to a staggering 14fps, the D6 will redefine the way pros work.
“The D6 is purpose-built and inspired by the valuable feedback of professional users,” said Jay Vannatter, Executive Vice President of Nikon Inc. “The world relies on photojournalists and professionals to document every corner of the globe through impactful images; Nikon cameras are trusted to stand up to any job and help photographers capture the shot, time and time again.”
The Most Powerful AF in Nikon’s History: The D6 leaves nothing to chance. To maximize hit rate, it is equipped with a newly developed, densely packed 105-point AF system in which all the focus points utilize cross-type sensors and all points are selectable. Through the new focus point layout and the use of a triple-sensor arrangement for each focus point, the D6 achieves AF coverage that is approximately 1.6x denser than that of the D5. The D6 also sports an expanded focus detection range which increases the detection area for single point AF and dynamic area AF, making it easier to achieve focus on a subject even when slightly outside the focus point.
Improving upon Nikon’s popular Group AF mode, this function has evolved with support for 17 custom arrangements from which users can choose according to the scene or subject movement. The D6 also demonstrates superior low-light AF performance. The center focus point works down to -4.5 EV1 and the others to -4 EV, making autofocus possible even in dark situations or with low-contrast subjects.
Unparalleled Performance: The new EXPEED 6 engine's superior image-processing capabilities combined with the vast amount of information provided by the new dedicated AF engine drives high-level performance in any situation. To help capture the decisive moment consistently, the D6 boasts a 14fps2 mechanical shutter with full AF and AE. The D6 can also shoot completely silent for sensitive situations, capturing full resolution at 10.5 fps. For faster frame rates, the Nikon D6 is able to take 2-megapixel images at approx. 60 fps and 8-megapixel images at 30 fps in Live View mode.
The D6 leverages a 20.8-megapixel FX-Format CMOS sensor, creating images that pop with stunning detail and true colors and exhibit incredible dynamic range. The ISO ranges from 100 to 102,400, which helps to preserve sharpness and subtle details in even the most challenging light. Additionally, ISO is expandable up to 3.2 million, giving photographers the ability to truly conquer the dark.
Concentration on Workflow: Building on Nikon’s history of serving professionals, the D6 is the most customizable Nikon DSLR yet, designed to speed up the workflow of any user during and after capture.
-Recall shooting functions create combinations of settings that can be assigned to a specific button to get the perfect shot in a pinch
-The D6 excels in connectivity and supports the same 1000BASE-T Ethernet standard as the D5, with an approximate 15% increase in transmission speed. The camera also supports a number of options for wireless networking, offering built-in 2.4- and 5-GHz*3 Wi-Fi®4 or traditional wireless transfer using the WT-6 Wireless Transmitter (optional)
-Includes 14 customizable buttons, assignable to any of 46 unique function choices and a new intuitive menu system
-Priority Image Transfer gives the ability to move an important image to the front of the queue when speed is of paramount priority, which can easily be done by swiping the touch LCD during playback
-Security Lock compatibility supports connection of anti-theft cables to provide maximum security for remote applications or when the camera is unattended
-Built in GPS5 gives accurate time, date and location information for just about anywhere on the planet
-Dual CFexpress6 slots offer blazing fast read/write times and have the ability to overflow, copy or separate file types
-JPEG functions allow for the simultaneous recording of two JPEG images with different image size and quality settings, which is convenient for separating images that will be transmitted from those that will be edited
-Creativity options for multimedia creators including a new interval timer mode to retain the best resolution and enable in-camera time-lapse movie file recording providing professionals the ability to create exceptionally sharp 16:9 4K Ultra HD video
Absolute Reliability: Nikon’s flagship cameras remain trusted in the industry and have been proven on the sidelines, in the studio and even in outer space. With a magnesium alloy camera body and extensively weather-sealed design, the D6 is as tough as the professionals who use it, ready to take on the harshest shooting conditions. The camera offers long-lasting battery life, delivering the safety net and energy-saving performance that pros need on daylong outings. The D6 also employs a USB-Type C connector for faster direct-to-PC file transfer rates than previously possible with the D5.
Endless Lens Choices: By pairing the D6 with Nikon’s extremely diverse selection of F-Mount NIKKOR telephoto lenses, professionals have the most advanced imaging solution in Nikon’s history. No matter the job, the client or the location, there’s a NIKKOR lens, from the ultra-wide to the super-telephoto. The D6 is also compatible with Nikon’s line of creative Speedlights, offering extra creative freedom to enhance natural light and add artistry and drama to any scene.
Pricing and Availability
The new Nikon D6 will be available in April 2020 for a suggested retail price (SRP) of $6,499.95 for the body only configuration.”
Canon Announces First Full-Frame Mirrorless Camera For Astrophotography
Targeting the needs of astrophotographers, the new EOS Ra full-frame mirrorless camera incorporates many advanced features of the EOS R, such as RF mount design, a 30.3MP CMOS sensor, high-precision electronic viewfinder, high-sensitivity, low-noise performance and 4K time-lapse shooting.
Canon announces the EOS Ra, a full-frame mirrorless camera specifically for astrophotography. This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. Thanks!
From the Canon Press Release:
“In the words of poet Quintus Ennius, “No one regards what is before his or her feet; we all gaze at the stars.” Helping to gaze and capture the beauty of the stars and beyond, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the company’s first full-frame mirrorless camera for astrophotography, the EOS Ra. This new camera was built off the EOS R system combining new features, such as four times greater transmittance of hydrogen-alpha (Hα) light of 656.3 nm compared to the original EOS R. For astrophotographers and hobbyists who enjoy capturing the detailed splendor of the night sky, the new EOS Ra will be an ideal camera to shoot with.
“Since the introduction of the EOS R full-frame mirrorless camera system last fall, Canon has remained committed to launching a line of impressive and innovative EOS R models and a strong variety of RF lenses and accessories to meet the needs of every skill level of photographer,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “As a group of photographers who are passionate about capturing what we can’t see with our naked eyes, the new EOS Ra is designed for astrophotographers looking to capture vivid imagery of the night sky.”
Targeting the needs of astrophotographers, the new EOS Ra full-frame mirrorless camera incorporates many advanced features of the EOS R, such as RF mount design, a 30.3MP CMOS sensor, high-precision electronic viewfinder, high-sensitivity, low-noise performance and 4K time-lapse shooting. Optional accessories include an AC adapter kit, which allows the camera to be powered through an AC wall outlet or a battery-powered inverter, a BG-E22 battery grip and three EF-EOS R mount adapters to accommodate the entire range of over seventy EF & EF-S lenses.
Other features include:
Enhanced transmission of Hα rays (656.3 nm wavelength) through an infrared cutoff filter, helping to capture high-precision images of the deep-red wavelengths emitted by nebulae in vivid color, without any special camera alterations.
A 30x maximum magnification, allowing users to make extremely precise manual focus adjustments*.
Support for all Canon RF, EF and EF-S lenses (with the use of an optional EF-EOS R mount adapter), including more than 70 lenses from the EF series as well as RF series lenses, which deliver superb image quality. The variety of lenses, such as the large-diameter f/1.2 lenses, ultra-wide-angle lenses, and super-telephoto EF lenses, among others, are all well suited to help photographers to choose the best match for their specific astrophotography purposes.
This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. As an Amazon Associate I earn from qualifying purchases. Thanks!
Canon Announces The Development Of The EOS-1D X Mark III Camera
Continuing Canon’s rich heritage of creating first-rate optical products, the EOS-1D X Mark III offers an enhanced autofocus system, with dramatically improved still and video image quality and communication. When using this camera, professionals will have the confidence they will get ‘the shot’ and can deliver it at a competitive speed – faster than ever before – ideal for the increasingly fast-paced industry.
Canon announces development of the EOS-1D X Mark III.
From the Canon Press Release:
“Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc. is developing the highly anticipated Canon EOS-1D X Mark III Camera – the successor to the world-renowned and award-winning EOS-1D X Mark II. Ideal for sports and wildlife, the flagship DSLR is being engineered and designed using feedback from the worldwide community of EOS-1D X and EOS-1D X Mark II photographers. Continuing Canon’s rich heritage of creating first-rate optical products, the EOS-1D X Mark III offers an enhanced autofocus system, with dramatically improved still and video image quality and communication. When using this camera, professionals will have the confidence they will get ‘the shot’ and can deliver it at a competitive speed – faster than ever before – ideal for the increasingly fast-paced industry.
“The innovations put forth by the new EOS-1D X Mark III will set the new standard for professional DSLR cameras and further cement Canon’s commitment to its professional photographers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “In developing the new camera, Canon listened to extensive user-feedback from professionals out in the field. The result is a camera that has evolved from its predecessor and maintained the overall quality that professional photographers have come to expect from the Canon EOS-1D series.”
Need for Speed
The Canon EOS-1D X Mark III will be blisteringly fast - offering exceptional precision, reliability, high-performance autofocus and subject tracking – providing photographers with a tool that will help to capture the shot they are chasing. The camera’s new autofocus algorithm will improve stability and tracking when using both the Optical Viewfinder and in Live View shooting mode, using Deep Learning Technology and adapting to help facilitate accurate focus tracking for every shot. When using the optical viewfinder the camera will use a new autofocus sensor, with approximately 28 times the resolution in the center of the EOS-1D X Mark II. Offering the ability to autofocus in even brighter and darker situations than before and with greater precision, the camera will have a range of autofocus capabilities, which will enable the photographer to get their shot. In Live View mode, users will be able to make use of 525 AF areas using the Dual Pixel CMOS AF system will cover approximately 90x100 percent of the image sensor. The camera will support significantly faster frame rates with full AF and AE, using either the optical viewfinder (up to approximately 16fps mechanical shutter) or Live View (up to approximately 20fps mechanical or electronic shutter). Additionally, the camera’s dual CFexpress card slots will enable more than five times the RAW burst depth of its predecessor.
Powered to Dominate
The development of EOS-1D X Mark III is a clear example of Canon’s commitment to pushing the boundaries of innovative imaging products featuring optically excellent technology. The camera will support an all new, Canon-developed, CMOS sensor and DIGIC processor, that will deliver greater image quality, at even higher ISOs, with the ability to capture stills in 10-bit using the HEIF (High Efficiency Image File) file format. HEIF produces wider dynamic range and greater color representation compared to JPEG. The power of 4K resolution brings stories to life – shoot 4K videos including 4K60p with 10-bit 4:2:2 Canon Log internal recording.
Conveniently Connected
For professionals, content delivery is just as important as image capture – the EOS-1D X Mark III will make it easy, featuring built-in Wi-Fi® and Bluetooth® low-energy connectivity in addition to GPS technology. To keep pace with ever-shortening deadlines, the camera will transfer data at a fasteri speed than that of the EOS-1D X Mark II when using the built-in Ethernet connection, or the new optional wireless file transmitter – the WFT-E9, which is also compatible with Canon’s recently launched Cinema EOS C500 Mark II camera. Coupled with simpler network set-up the camera will greatly enhance the professional workflow.
A Familiar Feel with Improved Attributes
Existing EOS-1D series users will be familiar and comfortable handling the EOS-1D X Mark III allowing seamless navigation with trusted ergonomics – whilst the magnesium alloy body will offer the durability expected from Canon’s EOS-1D cameras. Professional photographers can trust the same impressive build-quality as the EOS-1D X Mark II – with phenomenal weather-sealing, standing up to harsh conditions, including wind, rain and humidity. With incredible low-light shooting capabilities, the camera will now feature select illuminated buttons that allow for precision operation in challenging, dark and dimly lit conditions. The camera will also offer a new additional control for selecting AF points, built into the AF-ON button, allowing photographers to change AF points on-the-fly for the best composition – further helping to simplify their work. In addition, dramatically improved battery life – with the same LP-E19 – will allow professionals to shoot for longer periods of time, without having to change batteries, helping reduce the chance of missing a shot.”
Sony Announces The Alpha 9 II Full-Frame Mirrorless Camera
The needs of professional sports photographers and photojournalists working at the highest levels are answered in the new Sony α9 II. Extending on the performance of the original α9, the a9 II combines 20fps speed, no viewfinder blackout and AF/AE tracking at 60 calculations per second with enhanced connectivity, new mechanical shutter, improved weather sealing and robust workflow capabilities.
Sony Introduces the Alpha 9 II Mirrorless Full-Frame Camera. This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. Thanks!
From the Sony Press Release:
“Sony Electronics today announced Alpha 9 II (model ILCE-9M2). The latest model from Sony’s acclaimed line-up of α (Alpha) full-frame interchangeable lens cameras, the new model has been created to support working professionals in the fields of sports photography and photojournalism.
The new Alpha 9 II builds on the impressive legacy of the original Alpha 9, maintaining groundbreaking speed performance, including blackout-free continuous shooting (1) at up to 20 frames per second (2) with Auto Focus and Auto Exposure tracking at 60 calculations per second (3). Updates include significantly enhanced connectivity and file delivery, continuous shooting at up to 10 fps with mechanical shutter, and evolved AF performance with newly optimized algorithms, re-designed build to enhance durability and operability.
“The voice of our customers is absolutely critical to Sony – we are always listening,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The Alpha 9 II is the direct result of our work with agency, sports and news photographers since the launch of the original Alpha 9. We have added connectivity and network capabilities that drastically improve the professional workflow, while also making enhancements to design, interface and processing power that complete the user experience. Complemented by our extremely versatile E-mount system – with 55 native lenses introduced at this point including super-telephoto 600mm and 400mm G Master™ series lenses – this new camera is a tool unlike any other for professionals, whether in the field or on the field.”
Raising the Bar for Built-in Connectivity in the Professional’s Workflow
The Alpha 9 II includes a built-in 1000BASE-T Ethernet terminal, enabling gigabit communication for high-speed, stable data transfer operations. Additionally, File Transfer over SSL or TLS encryption (FTPS) is supported for increased data security and PC remote (tether) shooting performance is improved, with decreased release time lag and reduced live view screen delay when using the ‘Remote Camera Tool’ desktop application (4). The speed of the camera’s built-in wireless LAN functionality has also been increased, adding a stable and fast 5 GHz (IEEE 802.11ac) (5) band, in addition to the 2.4 GHz provided in the Alpha 9. IEEE 802.11a/b/g/n/ac standards are all supported.
Designed to improve the speed of news agencies’ workflow, the Alpha 9 II features a new Voice Memo function that allows spoken information to be attached to images in the form of voice memos that can be replayed when the images are reviewed. The voice data can also be included with images sent to an editor, giving them important information needed for effective editing. Alternatively, a field photographer can also use the ‘Transfer & Tagging add-on’ “Imaging Edge™” application (6) to transfer voice tags with the images to their mobile device and have the voice memos automatically (7) converted to text and added to the JPEG images in the form of IPTC metadata (8). All of this can be done automatically or manually selected by the photographer.
By combining wireless voice/image transfer and automatic voice-to-text conversion with the ability to auto-transfer images with attached voice memos via FTP, it is possible to shoot and transfer the results to an FTP server without ever having to operate a smartphone. FTP settings within the app can also be sent to a camera via Bluetooth®, allowing for a faster workflow.
The Platinum Standard for Speed & Auto Focus Performance
The new Alpha 9 II shares the same acclaimed 35mm full-frame stacked 24.2 MP (9) Exmor RS™ CMOS image sensor with integral memory as the original Alpha 9, giving it the same unmatched speed performance and outstanding image quality. The new model can shoot continuously and completely silently (10) at 20 fps for up to 361 JPEG images (11) or 239 compressed RAW images (12), with no viewfinder blackout allowing the photographer to follow the subject and action with no interruption to the EVF during picture taking. For times when mechanical shutter is preferred or required, the new Alpha 9 II has been improved to shoot at up to 10 fps, about 2x the speed of the Alpha 9.
The camera is able to function while continuously calculating Auto Focus and Auto Exposure at up to 60 times per second, with newly optimized AF algorithms that provide notably enhanced AF precision and performance, ensuring that even the most erratic subject motion that is associated with sports are captured with high precision. Also useful for sporting events, the camera now offers an anti-flicker shooting (13) mode that automatically detects and adjusts for the presence of fluorescent or artificial lighting to maximize image quality.
The advanced focusing system in the new Alpha 9 II is far beyond the capabilities of any professional camera. Comprised of 693 focal-plane phase-detection AF points covering approximately 93% of the image area, as well as 425 contrast AF points, the Fast Hybrid Auto Focus system achieves extremely fast and accurate performance, ensuring all fast-moving subjects are accurately captured. Additional notable focusing capabilities include Real-time Eye AF with right eye / left eye selection, Real-time Eye AF for animal (14) augmented with a new algorithm, Real-Time Eye AF for movie (15), Real-time Tracking (16), selectable focus frame color, Touch Pad focus point control while using the viewfinder and more. AF can also now continuously track even if continuous shooting is greater than f/16 (17), providing further accuracy for shots that require slower shutter speeds.
Refined Build & Operability
Upgraded BIONZ X™ image processing engine gains maximum benefit from the sensor’s fast readout speed; processor works with front-end LSI to enhance speed in AF/AE detection, image processing, face detection and accuracy, and more
Upgraded dust and moisture resistant (18) design to meet the needs of professionals in even the most challenging outdoor conditions; stronger sealing provided at all body seams as well as the battery compartment cover and media slot
Latest developed image-processing algorithm reduces noise in the medium-to-high sensitivity range while improving subjective resolution and image quality
5-axis optical in-body image stabilization system that provides a shutter speed advantage of 5.5 steps (19)
Improved grip configuration for even greater comfort and sure hold; compatible with Sony VG-C4EM Vertical Grip
Improved button design and feel; increased diameter and feedback of the ‘AF-ON’ button; a refined multi-selector joystick design; an exposure compensation dial lock button; and a redesigned shape and new position for the rear dial
Redesigned shutter mechanism to suppress even the slightest movement that can cause image blur; tested for durability in excess of 500,000 shutter cycles (20)
USB Type-C™ connector that supports fast USB 3.2 Gen 1 data transfer
Dual media slots that are both compatible with UHS-I and UHS-II SD cards, allowing higher overall capacity and faster read/write speeds
Digital audio interface has been added to the camera’s Multi Interface Shoe™ (MI Shoe), enabling the new ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit to be connected directly to the MI Shoe for cleaner, clearer audio recordings”
This page contains links to products, so if you find this site useful and use a link to make a purchase, I’ll get a small commission. As an Amazon Associate I earn from qualifying purchases. Thanks!
DJI Drone Sensor Size Comparison Page
There are many drones & cameras available from DJI with minor or major differences in sensor size, photo resolution, video resolution, and video format. I thought it would be handy to have a page with specifications and significant differences laid out clearly in order to make comparison easy.
See also: DJI Product History Timeline
See also: Megapixels vs. Sensor Size: Can the Mavic Air 2 Beat the Phantom 4 Pro?
See also: DJI Air 2S Review: Has DJI Finally Created a Superior Successor to the Phantom 4 Pro??
There are many drones & cameras available from DJI with differences in sensor size, photo resolution, focal length, video resolution, and video format. I thought it would be convenient to have a single page with a visual sensor size reference and key camera specifications laid out clearly in order to make camera comparison easy. Did you know that in December 2018 there were five different variations of the Mavic being sold, with two different sensor sizes? =)
I will try to keep this page updated as new products come out.
For more info you can click on the product name and it will take you to DJI’s website.
**Note about camera sensor sizes: I am listing approximate physical sensor sizes in millimeters based on my own calculations and research to make them easier to compare. Actual dimensions may vary slightly.
The main reason I created this page is due to the different ways DJI lists the sesnor sizes in the specs pages, making it difficult to easily compare cameras. For example, DJI’s website lists the sensor size of the Zenmuse X7 in millimeters (23.5 × 15.7 mm) based on the real physical dimensions, but lists the Phantom 4 Pro’s sensor size as a 1” sensor, though it’s real diagonal measurement is probably more like 0.6 inches. By listing all the sensor sizes the same way it should be easier to visualize the difference. For more information on sensor format sizes, check out this table.
If you find this page helpful, most current products on this page have product links, and I'll get a small commission if a purchase is made through one of the links. As an Amazon Associate I earn from qualifying purchases. The information provided here is for convenience only and should be confirmed on DJI’s website before making a purchase. Thanks, and enjoy!
- DJI FPV Series -
- Mavic Series -
Mini 3 Pro
(Mini 3 Pro on Amazon)
Sensor Size: 9.7 x 7.3mm
Max Photo Resolution: 8064×6048 (48 MP Mode) or 4032×3024 (12 MP)
Max Video Resolution: 3840×2160 @ 60fps
Camera Rotates to Vertical/Portrait Orientation: YES
Lens Focal Length (35mm Equivalent): 24mm
Aperture: f/1.7 (fixed)
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264, h.265
Mavic 3
(Mavic 3 on Amazon)
Sensor Size: 17.3 x 13mm
Max Photo Resolution: 5280 × 3956
Max Video Resolution: 5120 × 2700 @ 50fps / 4096 × 2160 @ 120fps
Lens Focal Length (35mm Equivalent): 24mm
Aperture: f/2.8 - f/11
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264, h.265, Apple ProRes 422 HQ (Apple ProRes is Mavic 3 Cine Only)
Mavic 3 Upper Telephoto Camera
Sensor Size: 6.4 x 4.8mm
Max Photo Resolution: 4000 × 3000
Max Video Resolution: 3840 × 2160 @ 50fps
Lens Focal Length (35mm Equivalent): 162mm
Aperture: f/4.4 (fixed)
Photo Format: JPEG or DNG (RAW)
Video Formats: h.264, h.265
**(Note: DJI released a firmware update in May of 2022 that added multiple features to the telephoto camera, including RAW shooting and video fps options. If the firmware is not updated you won’t see the RAW shooting option or a number of other features.)
DJI Air 2S
(DJI Air 2S on Amazon)
Sensor Size: 13.2 x 8.8mm
Max Photo Resolution: 5472 × 3648
Max Video Resolution: 5472 × 3078 @ 30fps / 3840 × 2160 @ 60fps
Lens Focal Length (35mm Equivalent): 22mm
Aperture: f/2.8 (fixed)
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264, h.265
DJI Mini 2
(DJI Mini 2 on Amazon)
Sensor Size: 6.3 x 4.7mm
Max Photo Resolution: 4000 × 3000
Max Video Resolution: 3840 × 2160 @ 30fps
Lens Focal Length (35mm Equivalent): 24mm
Aperture: f/2.8 (fixed)
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264
Mavic Air 2
(Mavic Air 2 on Amazon)
Sensor Size: 6.4 x 4.8mm
Max Photo Resolution: 8000 × 6000 (sort of… see this)
Max Video Resolution: 3840 × 2160 @ 60fps
Lens Focal Length (35mm Equivalent): 24mm
Aperture: f/2.8 (fixed)
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264, H.265
Mavic Mini
(Mavic Mini on Amazon)
Sensor Size: 6.3 x 4.7mm
Max Photo Resolution: 4000 × 3000
Max Video Resolution: 2720 × 1530 @ 30fps
Lens Focal Length (35mm Equivalent): 24mm
Aperture: f/2.8 (fixed)
Photo Formats: JPEG
Video Formats: h.264
Mavic 2 Pro
(Mavic 2 Pro on Amazon)
Sensor Size: 13.2 x 8.8mm
Max Photo Resolution: 5472 × 3648
Max Video Resolution: 3840 × 2160 @ 30fps
Lens Focal Length (35mm Equivalent): 28mm
Aperture: f/2.8 - f/11 (adjustable)
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264, h.265
Mavic 2 Zoom
(Mavic 2 Zoom on Amazon)
Sensor Size: 6.3 x 4.7mm
Max Photo Resolution: 4000 × 3000
Max Video Resolution: 3840 × 2160 @ 30fps
Lens Focal Length (35mm Equivalent): 24-48mm Zoom
Aperture: f/2.8 - 3.8 (non-adjustable, changes with focal length)
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264
Mavic Pro / Mavic Pro Platinum
Sensor Size: 6.3 x 4.7mm
Max Photo Resolution: 4000 × 3000
Max Video Resolution: 4096 × 2160 @ 24fps
Lens Focal Length (35mm Equivalent): 26mm
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264
- Phantom Series -
Phantom 4 Pro, Phantom 4 Pro v2.0, & Phantom 4 Advanced
Sensor Size: 13.2 x 8.8mm
Max Photo Resolution: 5472 × 3648
Max Video Resolution: 4096 × 2160 @ 60fps
Lens Focal Length (35mm Equivalent): 24mm
Aperture: f/2.8 - f/11 (adjustable)
Photo Formats: JPEG, DNG (RAW), JPEG + DNG
Video Formats: h.264, h.265
Phantom 3 SE
Sensor Size: 6.3 x 4.7mm
Max Photo Resolution: 4000 x 3000
Max Video Resolution: 4096 x 2160 @ 24/25fps
Lens Focal Length (35mm Equivalent): 20mm
Photo Formats: JPEG or DNG (RAW)
Video Formats: h.264
Zenmuse X7 (Inspire 2)
(Zenmuse X7 on Amazon)
Sensor Size: 23.5 × 15.7 mm
Max Photo Resolution: 6016 × 4008
Max Video Resolution: 6016×3200 @ 30fps
Lens Focal Length (35mm Equivalent): 24mm, 36mm, 52mm, or 75mm via the 16mm / 24mm / 35mm / 50mm DJI Lenses (There is a crop factor of 1.5)
Photo Formats: JPEG, DNG (RAW), JPEG + DNG
Video Formats: CinemaDNG, ProRes RAW, ProRes RAW HQ, ProRes, h.264, h.265
Zenmuse X5S (Inspire 2)
(Zenmuse X5S on Amazon)
Sensor Size: 17.3 x 13 mm
Max Photo Resolution: 5280 × 3956
Max Video Resolution: 4096×2160 @ 59.94fps
Lens Focal Length (35mm Equivalent): Can take a variety of MFT lenses. Default lens is a DJI 15mm, and with a crop factor of 2, makes it 30mm
Photo Formats: JPEG, DNG (RAW), JPEG + DNG
Video Formats: CinemaDNG, ProRes, h.264, h.265
Zenmuse X4S (Inspire 2)
Sensor Size: 13.2 x 8.8mm
Max Photo Resolution: 5472 × 3648
Max Video Resolution: 4096×2160 @ 59.94fps
Lens Focal Length (35mm Equivalent): 24mm
Photo Formats: JPEG, DNG (RAW), JPEG + DNG
Video Formats: h.264, h.265
Zenmuse X5R (Inspire 1)
(Zenmuse X5R on Amazon)
Sensor Size: 17.3 x 13 mm
Max Photo Resolution: 4608 x 3456
Max Video Resolution: 4096 x 2160 @ 23.98fps
Lens Focal Length (35mm Equivalent): Can take a variety of MFT lenses. Default lens is a DJI 15mm, and with a crop factor of 2, makes it 30mm
Photo Formats: JPEG, DNG (RAW), JPEG + DNG
Video Formats: CinemaDNG, h.264
Zenmuse X5 (Inspire 1)
Sensor Size: 17.3 x 13 mm
Max Photo Resolution: 4608 x 3456
Max Video Resolution: 4096x2160 @ 23.98fps
Lens Focal Length (35mm Equivalent): Can take a variety of MFT lenses. Default lens is a DJI 15mm, and with a crop factor of 2, makes it 30mm
Photo Formats: JPEG, DNG (RAW), JPEG + DNG
Video Formats: h.264