Gadgets & Gizmos

NOT EVERYONE IS swooning over the latest mirrorless cameras. While there's no doubt they are the future of photography, there's still plenty of life in the DSLR design and, if you like that bright, clear optical viewfinder (except when shooting in low light, of course), then maybe the DSLR is still for you!

Canon has released the EOS 90D, designed for shooting wildlife and sport. It offers continuous shooting at up to 10 fps with autofocus tracking and 11 fps in live view mode.

Canon suggests the optical viewfinder enables the responsiveness needed to shoot wildlife, such as birds in flight, while an intelligent function gives complete visibility of the composition and shooting settings within the display.

Where subjects are both quick and unpredictable, the fast frame rate and 58 JPEG burst enable photographers to shoot continuously and select the best frame later on during the editing process.

The EOS 90D also offers long battery life of up to 1300 shots (CIPA standard), which allows you to shoot all day without concern for battery limitations, something mirrorless cameras struggle to do (but, of course, a spare battery or two solves this problem).

Inside, a new 32.5-megapixel APS-C CMOS sensor coupled with the DIGIC 8 processor, unlocks lens correction tools including the Digital Lens Optimiser and Diffraction Correction, which produce excellent images straight out of the camera.

And with raw image quality accompanied by WiFi and Bluetooth capabilities, you can easily share images to social channels.

The EOS 90D is capable of 4K resolution video and Full HD up to 120 fps, providing options for slow motion, cropped or super highresolution. And the Dual Pixel CMOS autofocus system offers a wide coverage area (88 x 100%), producing smooth, high-performance focus tracking in movies for professional-looking footage.

For more information, visit www.canon.com.au

WHEN EDITING PHOTOGRAPHS in Lightroom, Photoshop or Capture One, do you find yourself using the graduated filter (or equivalent)?

And do you find yourself using two different graduated filters from time to time, at different angles?

For instance, you might darken down the sky with the first graduated filter, then darken down the foreground next, leaving the middle of the image lighter and brighter.

You can also do this 'in-camera' with graduated neutral density filters, placing two filters into the holder, one 'upside down'. And the amount and area of darkening can be adjusted by sliding the filters up and down.

The only downside of using a filter is that its straight edge doesn't account for bumps in the landscape, like trees or mountains that break the horizontal horizon.

But what happens if you need to angle one of the graduated filters? No trouble in Photoshop or Lightroom, but what can you do when you're using filters on a camera?

Hand-holding the filters is one answer, but now NiSi has a better one!

The NiSi Switch 100mm Filter Holder allows two filters to be rotated together or independently from each other. It’s designed for photographers who need graduated ND filters positioned at different angles, plus allows them to be rotated independently and smoothly.

The NiSi Switch allows smooth 360 degrees rotation, but also has a locking screw to fix the back holder into position.

The holder has no vignetting, even with a 16mm ultra wide-angle lens on a full-frame sensor.

The NiSi Switch is compatible with existing 100mm NiSi filters and works with the 82 mm main adaptor, included in the following NiSi kits: V6/V5PRO/V5. So, if you are an existing NiSi user, you can just order the Switch as an additional filter holder to add to your kit.

Price is expected to be $159 and you can purchase directly from NiSi – https://nisifilters.com.au/product/nisi-switch-100mm-filter-holder/.

IS SONY NOW leading the DSLR/mirrorless campaign with its latest Alpha α7R IV? It may well be with a newly developed 35mm full-frame, back-illuminated CMOS image sensor with a resolution of 61-megapixels, the first of its kind.

The new sensor’s back-illuminated structure and noise reduction techniques combine to deliver extremely low noise and high sensitivity performance, ensuring maximum image quality, Sony claims. We have yet to test the camera ourselves, but suggest that new owners pay particular attention to precise focus and reducing camera shake as any minor deficiencies in camera technique will unwantedly show up in the high resolution files.

The α7R IV also boasts an impressive 15-stop dynamic range at low ISO sensitivities, resulting in smooth, natural gradations from deep shadows to highlights and maintaining excellent colour reproduction.

The camera is equipped with a 5-axis, optical in-body image stabilisation system that has been fine-tuned to support its highresolution shooting capacity, resulting in a shutter speed advantage of 5.5-stops. Additionally, the shutter unit assembly has been redesigned to reduce even the slightest vibration that could cause blur.

The α7R IV also includes Sony’s highest resolution viewfinder in any camera, a 5.76 million dot UXGA OLED Tru-finder EVF. About 1.6x the resolution of the EVF in the Alpha 7R III, this new viewfinder provides a very accurate, true-to-life depiction of the scene being framed. The display quality can be set to ‘Standard’ or ‘High’ mode, and to either 60 fps or 120 fps refresh rate to best match the subject and shooting conditions.

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 1- or 0.5-pixel increments to capture 16 separate pixel-shifted images containing a total of 963.2 million pixels worth of data, which is then composited into a 240.8 million pixel (19008 x 12672 pixels) image using the “Imaging Edge” desktop application.

So, does this mean we don't need medium format anymore? Sony says it's ideal for photographing architecture, art or any other subject that doesn't move!

For more information, visit www.sony.com.au

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