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This past February, Canon announced the development of its next full-frame mirrorless camera, the EOS R5. At the time, details were scarce, but a month later Canon followed up with new information confirming the forthcoming camera will offer 8K/30p video as well as ‘advanced animal AF.’
Despite the initial and additional information, plenty remains unknown about exactly what features and specifications the EOS R5 will offer, as well as how the specifications provided by Canon will actually be implemented (i.e. what codec will the 8K/30p video use and what’s the bitrate?).
|A Canon EOS R5 under glass at WPPI earlier this year.|
As you might expect, the rumor mill has been churning away, with whispers of more detailed specifications and even some suggestions that further hardware might be on the way in addition to the EOS R5. With all of that in mind, what are you hoping to see from Canon when the official launch takes place? Leave a comment and let us know, and we’ll publish a roundup of the most-requested features soon.
Two weeks ago, we reported on Canon’s CE-SAT-IB satellite camera, which was set to be launched alongside six other satellites aboard Rocket Labs’ Electron vehicle as part of its ‘Pics or It Didn’t Happen Mission.’ And, well, whoever chose the mission’s name might want to choose something a little less ominous next time, as in keeping with the theme of 2020, it’s been reported all payloads were destroyed during ascent due to a rocket failure.
According to Rocket Lab, its Electron vehicle, which housed Canon’s Earth-imaging camera and six other satellites, failed late in its journey after taking off from Mahia Peninsula on North Island, New Zealand (Te Ika-a-Māui)
|The optical imaging system inside the CE-SAT-1B (pictured) is based on Canon's EOS 5D Mark III design. Image via Canon|
In a Twitter post shared on July 4, Rocket Lab CEO Peter Beck apologized to Rocket Lab customers, saying ‘I am incredibly sorry that we failed to deliver our customers' satellites today. Rest assured we will find the issue, correct it and be back on the pad soon.’
No specific cause for the issue has been shared at this time, but the launch video, which was live-streamed for the world to see (and embedded below), shows the video feed from the Electron rocket cutting out just shy of six minutes into its flight. Not long after, you can hear a Rocket Lab team member say the less-than-inspiring phrase ‘initiating mishap response plan.’
In a press release, Rocket Lab further elaborated on the incident saying ‘Today’s anomaly is a reminder that space launch can be unforgiving […] The launch team operated with professionalism and expertise to implement systems and procedures that ensured the anomaly was managed safely.’
Rocket Lab is already in the process of getting future missions in place and Canon already has its CE-SAT-IIB satellite ready for a Rocket Lab mission later this year. We have contacted Canon for comment on the incident and will update this article accordingly if we receive a response.
This sample gallery includes images from our recent review of the Tamron 28-200mm F2.8-5.6 Di III RXD zoom lens. Check out these photos to see how it performs, from wide-angle to telephoto and everything in between.
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|Photo: Hamish Gill|
Kodak Portra 800 is a wonderful and versatile color film. And any rumors of it being discontinued, we're pleased to report, are simply untrue. That's a good thing, because Portra 800 is capable of producing lovely results in all sorts of lighting conditions and even holds up well to being under or overexposed.
Our friends over at 35mmc have a detailed review of this film stock (which is also a DPR staff favorite). It's chock full of sample photos. Have a look!
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we'll be sharing film-related content on Fridays, including articles from our friends at 35mmc.
The head of the World Press Photo Foundation has stepped down after five years in the role. Dutchman Lars Boering joined the foundation in 2015 but left without much explanation from either him or the WPP. In an official statement, Boering said ‘It was a tough decision to leave this beautiful organization, especially given the timing’ but doesn’t go on to give his reasons other than to say ‘it is time for me to pursue other opportunities’.
The organization only says ‘Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization’ and goes on to say it is ‘appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.’
Since the announcement, DPReview has spoken with Boering, independently, who said he left the foundation because so much of what he had planned for the future has changed since the coronavirus pandemic:
'Some of the programs and some of the activities are on hold or will never come back in the same way. I believe we will not see many festivals or events return in the near future, and its doubtful whether many of our ideas will get funding to make them happen. COVID has changed everything and so I have brought my departure forward. My strength is in growth and re-imagining things. It is very clear to me and the Supervisory board that World Press Photo foundation will be better off with a Director that can steer it through, in a calm and steady way, the challenging landscape that Covid19 has unveiled.'
The organization says it is heading towards a ‘new phase’ that will help it to ‘future-proof the business model and ways of working’ as it explores ‘new digital avenues and establishing a new International Advisory Board’.
Boering adds a slightly clearer dimension to the part of the statement that mentions future-proofing the foundation, saying:
'Over the next two years World Press Photo will be working carefully and steady to keep going, and we now know 2020 and 2021 will be okay for the foundation. I never intended to stay much longer than 7 or so years, and with the changing times now is the right moment to hand it over. WPP now reaches an audience of 300 million when we announce the winners and our reach on social media is growing ever faster. The challenge now is to monetize this value in the right way, in a way that is fits with the values of WPP and visual journalism. That has a great future and will be a wonderful challenge for my successor.'
Boerings departure leaves the foundation looking for a new head while an interim business director, Arnoud van Dommele, steps in for the time being. The organization will also establish an international advisory board by the end of this year, which will 'provide strategic advice to the Supervisory Board and Executive Board of WPPF.’
Boering tells DPReview that he's enjoyed his time at WPP and is proud of what he has achieved in his five and a half years:
'I have steered the foundation toward becoming an organization devoted to progressive values and ethics, and one with a set of advocacy agendas. Programs like the African Photojournalism Database, the 6x6 talent program and various global workshops, are initiatives by WPP to provide more opportunities to photographers of different backgrounds. I’m taking some time off for a small sabbatical and will choose my new path carefully. Many offers and initiatives are already coming my way, and to continue my work in the creative industries will be a pleasure.'
'The future of visual storytelling is very bright and more money is available than ever before,' he promises.
The World Press Photo Foundation enters new phase
Managing Director Lars Boering leaves the organization after 5 years; establishment of an International Advisory Board announced
Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization. As a result, the Supervisory Board will start the search for a new Executive Director. This coincides with the preparations of a broader approach for “connecting the world to the stories that matter” required for the changed world that has presented itself in recent months.
Guido van Nispen, Chairman of the Supervisory Board: “We see the pandemic having an immense impact on everyone and everything. The collateral damage is huge, and the World Press Photo Foundation has also been impacted, which depends partially on a model that organizes physical exhibitions all over the world.
The organization is appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.
A new phase for World Press Photo begins. A phase that builds on a strong foundation, and also leads to opportunities to future-proof the business model and ways of working. This includes exploring new digital avenues and establishing a new International Advisory Board. Press freedom, freedom of expression and the support of visual journalism are more important than ever, and as a leading organization that plays a crucial role for visual storytellers, the World Press Photo Foundation, with the great support of its people and partners, will keep on innovating to deliver on that promise.”
Lars Boering, Managing Director: “It was a tough decision to leave this beautiful organization, especially given the timing. It has been an amazing time and I am incredibly proud of the organization and the impact it has achieved. In these interesting and challenging times the World Press Photo Foundation, and the work it does, is more relevant now than ever before. The admiration I have for visual storytellers has grown and I hope my efforts have contributed to improving their work and position. Personally, it is time for me to pursue other opportunities, but I am confident about the future path for the organization, and am sure a successor can be identified soon.”
Lars Boering will hand over his work to Arnoud van Dommele, who has served as interim business director since March, while the Supervisory Board starts the search for a new Executive Director.
The International Advisory Board will consist of approximately 12 global experts and will be established before the end of 2020. The International Advisory Board will provide strategic advice to the Supervisory Board and Executive Board of WPPF.
About the World Press Photo Foundation
Connecting the world to the stories that matter.
We are a global platform connecting professionals and audiences through trustworthy visual journalism and storytelling, founded in 1955 when a group of Dutch photographers organized a contest (“World Press Photo”) to expose their work to an international audience. Since then, the contest has grown into the world’s most prestigious photography competition, and through our successful worldwide exhibition program, we present to millions of people the stories that matter.
World Press Photo Foundation is a creative, independent, nonprofit organization, based in Amsterdam, the Netherlands. We appreciate the support of our global partner, the Dutch Postcode Lottery, and our partners, PwC and Aegon.
There are many ways to learn the basics of photography, such as classes, tutorials and simply capturing more images. However, there's a neat new method using playing cards, Photography Deck.
Launched on Kickstarter, the campaign far exceeded its funding goal during its first day. At the time of writing, over 600 backers had contributed more than $20,000 USD, compared to the goal of just $1,122.
The unique and attractive deck of cards are designed to appeal to shutterbugs and photography newcomers alike. Each suit covers a different topic: Clubs cover technical details, diamonds showcase shooting styles, hearts offer composition tips and finally, spades teach camera basics.
|The 3 of spades card features the exposure triangle. Image credit: Photography Deck on Kickstarter|
The technical details on the clubs cards include manual shooting, white balance, color theory and more. For example, the 6 of clubs teaches the viewer about the histogram. The shooting style-themed diamonds cards illustrate styles of photography including flash photography, macro, portrait photography among others. The hearts cards feature composition topics such as negative space, symmetry, patterns, leading lines, the rule of thirds and more. Adorned with basic camera information, the spades cards illustrate camera topics such as aperture, shutter speed, focal length, depth of field and more. The 3 of spades illustrates the exposure triangle of shutter speed, ISO and aperture.
Via the Kickstarter page, creator Eric Bohring states that each card 'illustrates the most important rules and techniques about photography' while featuring unique camera artwork. 'Think of them as pocket-sized cheat sheets that you can bring wherever you travel,' the campaign continues. The product is designed as a unique gift for photography enthusiasts and as a useful and artistic addition to your own camera bag.
The deck of cards is a standard playing deck with 52 cards and a pair of jokers. Each card features a micro-linen texture and is a standard playing card size: 3.5 x 2.5 inches (89 x 64mm).
If you'd like to make a pledge to the Photography Deck project, it's about $14 USD to receive a standard Photography Deck, with shipping expected in August. For about $17, you can receive a limited edition green deck. If you'd like both decks you can receive a standard and limited edition deck for $29.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
|They may not necessarily be aimed at you (except as demonstrated here), but the recently released vlogging cameras from Panasonic and Sony could yet have an impact on your next camera.|
The past two months have seen both Panasonic and Sony introduce cameras explicitly aimed at vloggers. This may seem to have come from nowhere, but if two large companies independently decide there’s a market there, it’s a pretty sure sign that there’s demand for devices tailored to self-videoing. The question now is: what, if anything, does it mean for your next camera?
The answer might be "nothing": we’ve seen niche camera types such as Flip pocket video cameras come and go, and fads such as 3D fizzle when the public’s interest didn’t come close to matching the manufacturers’ enthusiasm.
Vlogging cameras are likely to prove a little more durable though, partly because the demand is consumer-led: Chris and Jordan of DPRTV constantly tell us how often they encountered customers asking for cameras that were good for vlogging, back when they worked in retail. Enough years have now passed since that point for manufacturers to have developed these specific vlogging cameras (rather than simply adding vlogging-friendly features, such as video streaming, to their existing models).
|Canon's most recent G7 X model had some features added to make it more vlogging friendly, but it was an adaptation of an existing model, rather than being redesigned primarily with vlogging in mind.|
The source of that demand is also likely to be long-lived, since any fall in interest in YouTube is only likely to come from the rise in popularity of other video-based platforms, whether that be TikTok or something we’ve not yet heard of. The big question is probably whether a dedicated camera turns out to be the best tool for the job. Or, perhaps, so much better that it overcomes the immediate convenience of a smartphone.
In terms of the models we’ve seen so far, they're just the beginning. There’s every chance we’ll see others, if Sony and Panasonic both concluded there’s a need for them, but what we’ve seen of this first generation seems a little cautious.
Both the ZV-1 and G100 are recognizable adaptations of existing technology. Sony appears to have spotted the market need and recognized that its very good face/eye detection technology would be a powerful proposition for those users. It’s a company with a solid history in audio technology, which might explain the three capsule mic setup but beyond this, the ZV-1 is essentially a modified RX100 VII.
|The G100 contains some interesting new ideas but it's primarily made from familiar components.|
It looks like a similar story with the G100: Panasonic knows how to make very good video cameras and how to make very small cameras, and it presumably saw Nokia’s OZO directional sound technology as an effective way to stand out to vloggers. Again, beyond the flip-out screen and the more sophisticated mic setup, the G100 is broadly made from a series of familiar components. All of which gives the feel of toes being dipped in the water.
At which point, this could go either way: they could evolve into a completely different devices or their features could simply be adopted across to more models.
For instance, there’s no reason a vlogging camera has to even resemble a traditional camera, if it’s primarily (or even regularly) used at arms length, pointing back at the user. Why should hand grips and control points resemble conventional cameras, if they’re awkward to reach, from the bright side of the lens? This could lead to the diverging from the recognizable camera form altogether.
|Could we see some sort of strange, convergent evolution, with vlogging cameras coming to resemble early, innovative digital cameras, but with differing motivations?|
The alternative is that features such as sophisticated mics and selfie-focused focusing could become so popular that they become standard features across much of the industry.
This second option may sound horrifying if you want a camera whose sensor is the only thing separating it from mechanical SLRs. But for most people, some vlogging features could probably be introduced without detracting too much from the everyday experience. And, once you've become accustomed to the idea, would improved audio capture be a bad thing?
Beyond this, many of the underlying capabilities that would make a good vlogging camera – fast, quiet and reliable face detection, decent battery life and attractive output – are things that are desirable on any type of camera.
Either way, it’s extremely unlikely that the ZV-1 and G100 are the last vlogging cameras we’ll see. And my money would be on there being at least some crossover into your camera bag in the future. Perhaps it's a point I can make more convincingly if I try to show you the things I'm talking about, over on YouTube.