Canon Officially Announces their Most Technologically Advanced Full-Frame Mirrorless Camera - the EOS R3

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.”

Canon Announces Development of the Full-Frame Mirrorless EOS R3

From the Canon Press Release: “MELVILLE, NY, April 14, 2021– Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc., is developing a new, high-performance professional camera — the Canon EOS R3*. When it arrives, the EOS R3 will be an outstanding complement to the three new RF lenses the company also introduced today — The Canon RF 100mm F2.8 L Macro IS USM, RF400mm F2.8 L IS USM and RF600mm F4 L IS USM.

“The development of the Canon EOS R3 and the launch of the new RF lenses are the latest testament to the company’s commitment to professional still and video image and content creators,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “When the camera becomes available, it will pair well with each of the new RF lenses announced today. Canon is excited to share this news today, and we look forward to seeing the images captured with the new RF lenses and upcoming EOS R3.”

Under Development - The Canon EOS R3
The Canon EOS R3 will join the current lineup of EOS R full-frame mirrorless series cameras. This camera will usher in a new category to the EOS R system, positioned squarely between the EOS R5 and EOS-1D X Mark III cameras. The camera will put great emphasis on superb AF performance and speed, with fast-moving subjects. It is being designed to meet the reliability and durability demands of professionals, even when working in challenging conditions.

At the heart of the EOS R3 camera’s performance will be an EOS camera first, a Canon-developed, full-frame stacked CMOS sensor with a back-illuminated design, providing substantially faster read-out speeds during still-imaging recording. This completely new sensor is designed to produce less “rolling shutter” distortion during Electronic Shutter operation and offer continuous Electronic Shutter still-image shooting at speeds up to 30 fps — with full Dual Pixel CMOS AF and auto exposure1.

The AF system will leverage technology and performance from the well-received EOS R5 and EOS R6 cameras, using Deep Learning technology to further enhance eye and body detection for even better performance during portrait and action-type shooting. In addition, the EOS R3’s subject detection AF will offer new recognizable subjects for its AF system, bolstering its focusing capabilities during challenging shooting conditions.

The Electronic Viewfinder of the EOS R3 will offer photographers 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 Control 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 camera body will be entirely new and accentuates the camera’s high-performance design. It’s a one-piece design, integrating the body with a vertical grip section. The weather and dust-resistance will be equivalent to that of EOS-1D class cameras — an essential consideration for nature, wildlife, sports and photojournalism content creators working in extreme conditions. In addition, news photojournalists will be excited to add the Mobile File Transmitter application for iOS and Android devices that will be available.

Full details of all the EOS R3’s features and specifications will be provided at the time of its formal announcement*. To follow along for more news on the Canon EOS R3 camera, please visit: www.usa.canon.com/eosr3.”

Sony Announces the Full-Frame Mirrorless Alpha 1 Camera

Sony announces the new Alpha 1 Full-Frame Mirrorless Camera

From the Sony Press Release:

“Sony Electronics, a global leader in imaging sensor technology and digital imaging, has announced the arrival of the groundbreaking new full-frame mirrorless Alpha 1 camera – asserting their commitment to leading the industry with a stunning combination of innovative new features. 

The most technologically advanced, innovative camera that Sony has ever released, the Alpha 1 combines high-resolution and high-speed performance at a level that has never been accomplished in the world of digital cameras.  With a brand new 50.1-megapixel full-frame stacked Exmor RS™ image sensor, up to 120 AF/AE calculations per second, 8K 30p 10-bit 4:2:0 video and much more, the Alpha 1 will allow creators to capture what they've never been able to before. 

"We are always listening to our customers, challenging the industry to bring new innovation to the market that goes far beyond their expectations," said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. "Alpha 1 breaks through all existing boundaries, setting a new bar for what creators can accomplish with a single camera. What excites us the most – more than the extensive product feature – is Alpha 1's ability to capture that which has never been captured before. This camera unlocks a new world of creative possibilities, making the previously impossible now possible."

The newly developed image sensor is built with integral memory and paired with an upgraded BIONZ XR imaging processing engine, making it capable of shooting 50.1-megapixel images continuously at an astounding 30fps with up to 120 AF/AE calculations per second. The Alpha 1's shooting capabilities are further enhanced by a 9.44 million dot OLED Quad-XGA electronic viewfinder, with a refresh rate of up to 240 fps, ensuring no black out.  Additionally, for the first time in an Alpha series camera, 8K 30p 10-bit 4:2:0 video is available. The Alpha 1 is also capable of 4K 120p / 60p 10-bit 4:2:2 recording and includes S-Cinetone color. The Alpha 1 is also packed with features that support field professionals with faster workflow, including 3.5 times faster wireless FTP transfer speed and more.

Unprecedented Resolution and Speed

Continuous Shooting at Up to 30 Frames Per Second
The Alpha 1 captures moments that would otherwise be lost thanks to its high-speed performance, providing any photographer the speed they require to capture fast-moving objects. High speed readout from the 50.1-megapixel image sensor and a large buffer memory make it possible to shoot up to 155 full-frame compressed RAW images or 165 full-frame JPEG images at up to 30 frames per second with the electronic shutter while maintaining full AF and AE tracking performance. 

At an astonishing calculation speed of up to 120 AF/AE per second, the Alpha 1 can maintain focus with high accuracy even for fast moving subjects. It can automatically adjust exposure, even with sudden changes in brightness, with an AE response latency as low as 0.033 seconds.

Advanced Electronic Viewfinder with the World's Firstiv Refresh Rate of 240 fps

Complimenting the camera's ability to capture images at an unprecedented speed, the Alpha 1 viewfinder features the world's firstiv 240 fps refresh rate, for a super-smooth display. The viewfinder does not black out when an exposure is made to offer an uninterrupted view and allow for seamless framing and tracking, even during continuous shooting. The 9.44 million-dot (approx.), 0.64 type Quad-XGA high-definition OLED display and refined optics deliver the highest resolution in its class. It also offers 0.90X viewfinder magnification, a 41° diagonal FOV, and a 25mm-high eyepoint for clear, low distortion viewing from corner to corner. 

Advanced Autofocus

Sony continues to push the boundaries of autofocus technology with the introduction of the Alpha 1, which can easily track complex, fast-moving subjects with high precision. The camera features 759 phase detection points in a high-density focal plane phase-detection AF system cover approximately 92% of the image area – ensuring accuracy and unfailing focus in environments where focusing might otherwise be difficult. 

Sony's advanced Real-time Eye AF improves detection performance by 30% over the previous system, thanks to the powerful image processing engine, BIONZ XR. It ensures accurate, reliable detection, even when the subject's face looks away. In addition to improved Real-time Eye AF for humans and animals, the Alpha 1 employs high-level subject recognition technology to provide Real-time Eye AF for birds, a first in an Alpha series camera. Optimized algorithms ensure that tracking is maintained even if a sitting bird suddenly takes flight, or the framing suddenly changes. 

The Alpha 1 also features AI-based Real-time Tracking that automatically maintains accurate focus. A subject recognition algorithm uses color, pattern (brightness), and subject distance (depth) data to process spatial information in real time at high speed. 

Silent, Vibration-free Electronic Shutter

High-speed readout from the new image sensor has made it possible to reduce rolling shutter by up to 1.5 times when shooting stills, compared to the Alpha 9 II. It also offers silent anti-flicker continuous shooting with an electronic shutter for the first time in the world. The electronic shutter operates silently, without mechanical noise, and is vibration-free. Stress-free continuous shooting is now possible even when shooting in challenging lighting situations with florescent or other flicker-prone types of artificial lighting. And for the first time in an Alpha camera, electronic shutter flash sync up to 1/200 sec is possible. The advantages of the electronic shutter advantages can now come to life even when using flash for broadly expanded shooting versatility.

Dual Driven Shutter System for 1/400 Flash Sync
The Alpha 1 boasts the world's fastest flash sync speedv of 1/400 sec. with mechanical shutter, making it even easier to capture dynamic action. In addition to a carbon fiber shutter curtain, the Alpha 1 features the newly developed dual driven shutter system utilizing spring and electromagnetic drive actuator, offering high durability and lightness at the same time.

High Resolution Shooting Enhancements

Even with this sensor's high pixel count, the Alpha 1 offers high sensitivity with low noise, plus 15+ stops of dynamic range for video and 15 stops for stills, for smooth, natural gradations from shadows to highlights thanks to its cutting-edge processing system, throughout a wide ISO sensitivity range of 100-32,000 (expandable to 50-102,400, when shooting stills).

Additionally, the new camera features an evolved Pixel Shift Multi Shooting mode that composites up to 16 full-resolution images. In this mode, the camera precisely shifts the sensor in one pixel or half-pixel increments to capture 16 separate pixel-shifted images containing a total of 796.2 million pixels of data, which are then composited into a 199 million pixel (17,280 x 11,520 pixels) image using Sony's Imaging Edge™ desktop application. With a flash sync of up to 1/200 sec. in this mode, it is ideal for photographing architecture, art or any other still life subject with a level of detail and color accuracy that is simply stunning.  

Professional Video Quality

8K High-resolution Movie Shooting

For the first time in an Alpha camera, the Alpha 1 offers 8K 30p 10-bit 4:2:0 XAVC HS recording with 8.6K oversampling for extraordinary resolution. Combined with Sony's acclaimed autofocus technology, gradation and color reproduction performance, the Alpha 1 will help the user realize their creative vision with the finest detail. It's 8K footage can also be used for flexible 4K editing during post-production. 

Supporting Various Video Formats for Professionals 

The Alpha 1 offers in-camera 4K recording at up to 120 frames per secondviii which allows the user to shoot up to 5X slow-motion video. In addition to supporting 10-bit 4:2:2 recording, this feature can be used with efficient Long GOP inter-frame compression or high-quality Intra (All-I) intra-frame compression. 

The Alpha 1 features S-Cinetone, the same color matrix that produces the highly regarded FX9 and FX6 color and skin tones. It delivers natural mid-tones, plus soft colors and gorgeous highlights to meet a growing need for more expressive depth. The S-Log3 gamma curve makes it possible to achieve 15+ stops of dynamic range, while the S-Gamut3 and S-Gamut3.Cine color gamut settings make it easy to match Alpha 1 footage with video shot on VENICE cinema camera, FX9 and other professional cinema cameras. 

Heat-dissipating Structure

A unique heat dissipating structure keeps image sensor and image processing engine temperatures within their normal operating range, preventing overheating while maintaining compact body dimensions. This makes it possible to record 8K/30p video continuously for approximately 30 minutes.

Supporting Hand-held Shooting

A high-precision stabilization unit and gyro sensors, plus optimized image stabilization algorithms, achieve up to a 5.5-step shutter speed advantage, maximizing the quality of the high-resolution images derived from the camera's 50.1-megapixel sensor. The Alpha 1 also features an Active Mod that offers outstanding stabilization for handheld movie shooting. When using Sony's desktop applications Catalyst Browse or Catalyst Prepare for post-production, an accurate image stabilization function is available which utilizes metadata generated by camera's built-in gyro.

Other features that the Alpha 1 offers include; 16-bit RAW output to an external recorder via HDMI for maximum post-production flexibility, a digital audio interface has been added to the camera's Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone, 5.8Koversampled full pixel readout without pixel binning for high-resolution 4K movies in Super 35mm mode and more.

Enhanced Workflow with Network Technologies including Connectivity to 5G Compatible Devices

The Alpha 1 has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with advanced connectivity options. It offers several features for fast, reliable file transfers. Industry's fastestxiii built-in wireless LAN allows communication on 2.4 GHz and 5 GHzxxix bands with dual antennas to ensure reliable communications. 5 GHz includes 2x2 MIMO support (IEEE 802.11a/b/g/n/ac) offering 3.5 times faster wireless FTP transfer speed than the Alpha 9 II - a notable advantage for news and sports shooters who need to deliver with reliable speed. There is also a provided USB Type-C® connector to support fast data transfer when connected to a 5G mmWave compatible device such as Sony's Xperia PRO and makes high-speed PC Remote (tethered) data transfer available for smooth handling of large image files. The Alpha 1 also has a built-in 1000BASE-T LAN connector for high-speed, stable data transfers, including remote shooting. FTPS (File Transfer over SSL/TLS) is supported, allowing SSL or TLS encryption for increased data security. 

In addition to compressed and uncompressed RAW, the Alpha 1 includes efficient lossless compression with no quality degradation, Lossless Compressed RAW. There is also a new "Light" JPEG/HEIF image quality setting that results in smaller files than the "Standard" setting, allowing faster deliver for news and sports photographers who depend on speed. Along with a versatile range of RAW and JPEG formats, the Alpha 1 includes the HEIF (High Efficiency Image File) format for smooth 10-bit gradations that provide more realistic reproduction of skies and portrait subjects where subtle, natural gradation is essential. Images shot on the Alpha 1 can be trimmed in-camera to a desired aspect ratio, size, or position for versatile usage.

The Alpha 1 is also compatible with a variety of apps, add-ons and tools. With Imaging Edge Mobile and Imaging Edge Desktop, professionals can easily transfer RAW files and files that use lossless compression and remotely control Touch Tracking and Touch Focus for convenient AF operation. The Transfer & Tagging add-on (Ver. 1.3 or later) can automatically covert voice memos attached to image files to text captions or transfer the files to an FTP server from a mobile device. Desktop applications Catalyst Browse/Catalyst Prepare allow professionals to browse and manage video clips shot by Sony's camera. In addition, the Remote Camera Tool can remotely change camera settings and shoot from a computer connected via LAN cable and feature a number of refinements for the Alpha 1: faster transfer, touch response, dual slot and HEIF support, and more.

Reliable and Easy Operability

Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 1 has two media slots that both support UHS-I and UHS-II SDXC/SDHC cards, as well as new CFexpress Type A cards for higher overall capacity and faster read/write speeds. It also features a durable magnesium alloy chassis, long battery life with the Z-battery which can be extended using the optional VG-C4EM Vertical Grip (sold separately), an improved dust removal feature, shutter close function on power-off to protect image sensor, plus dust and moisture resistance that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and USB PD (Power Delivery) support, allowing higher power to be supplied from an external source so that users can record for extended periods with minimal internal battery usage.

A revised menu structure provides easier navigation, and touch-responsive menu operation offers fast, more intuitive control with Touch Focus and Touch Tracking on its 3.0 type 1.44 million-dot (approx.) LCD monitor. For easy customization, a subset of the camera's shooting settings now changes according to the selected shooting mode, making it easier than ever to use different aperture, shutter speed and other settings for shooting stills and movies. 

Pricing and Availability

The Alpha 1 Full-frame Interchangeable-Lens Camera will be available in March 2021 for approximately $6,500 USD and $8,500 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.”

What Camera & Lens Should I Buy for Real Estate Photography?

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

Canon EOS M50

Nikon Z50

Sony a6100

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

Nikon NIKKOR Z 14-30mm f/4 S

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

Sony E 10–18 mm F4 OSS

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

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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!

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Products Mentioned in this Article

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Canon Cameras

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Canon EOS R5
Canon’s Best Full-Frame Mirrorless

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Canon EOS R6
Canon’s Mid-Range Full-Frame Mirrorless

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Canon EOS RP
Canon’s Cheapest Full-Frame Mirrorless

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Canon EOS M50
A Canon Mirrorless APS-C (Lower Cost than Full-Frame, but compatible lenses are probably less future-proof)

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Canon Lenses

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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.

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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.

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Canon EF-M 11-22mm f/4-5.6 IS STM
A Canon APS-C lens that is only compatible with the M50

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Sony Cameras

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Sony a7R IV
Sony’s Highest Megapixel Full-Frame Mirrorless Camera

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Sony a7R III
A mid-range Sony Full-Frame Mirrorless Camera

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Sony a7R II
A lower-cost Sony Full-Frame Mirrorless

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Sony a6100
A Sony Mirrorless APS-C (Lower Cost than Full-Frame, but compatible lenses are less future-proof)

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Sony Lenses

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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

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Sony E 10-18mm F4 OSS
An APS-C lens for your Sony a6100 with an ideal real estate focal range

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Nikon Cameras

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Nikon Z7
Nikon’s Best Full-Frame Mirrorless

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Nikon Z6
Nikon’s Mid-Range Full-Frame Mirrorless

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Nikon Z5
Nikon’s Cheapest Full-Frame Mirrorless

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Nikon Z50
Nikon’s Mirrorless APS-C (Lower Cost than Full-Frame, but using a compatible real estate photography lens requires an adapter)

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Nikon Lenses

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Nikon Z 14-30mm f/4 S
A lens for Nikon full-frame mirrorless with a good real estate focal range

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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

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Don't Let an Inadequate Tripod Do *This* to Your Photos! (Highly Detailed Rant)

(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.

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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.

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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! =)

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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.

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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.

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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.

Both Manfrotto and Benro make tripod kits in this category, with maximum safety payloads of around 20 lbs. It’s a great idea to get a tripod and head with maximum payloads that greatly exceed the weight of your camera and lens to maximize stability.

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.

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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.

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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!

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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

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.”

Canon Announces First Full-Frame Mirrorless Camera For Astrophotography

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.

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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 EOS Ra on Amazon

Sony Announces The Alpha 9 II Full-Frame Mirrorless Camera

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”

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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!

Sony Alpha 9 II on Amazon