Camerarumors

Canon EOS M50 Specifications: 24.1 Megapixels APS-C CMOS DIGIC 8 Dual pixel CMOS AF with greatly improved performance AF area is enlarged by about 38% with corresponding lens (100% vertical × 88% wide in live view image display range) The selectable AF point is a corresponding lens with a maximum of 143 points (99 points for non-compatible lenses) Pupil detection AF Dual Sensing IS Silent mode DLO in camera RAW development in camera Video: 4K 25p / 24p, FHD 60p, HD 120p Frame cutout from 4K movie is possible 5 Axis Electronic Image Stabilizer · Combination IS Standard ISO: 100-25600 (extended ISO: 51200) Continuous: Up to 10 frames / sec (at servo AF: up to 7.4 frames / sec) EVF: 0.39 type 2.36 million dot OLED 3 type 104 million dots  vari angle touchscreen LCD Wi-Fi · Bluetooth · NFC installed Wireless remote controller BR-E1 compatible HDMI HDR output compatible Supports the next-generation CR3 RAW format and the new C-RAW compression format The C – RAW format is 40% smaller in file

These 59-pound boxes contain lots of glass and a tons of tech. Canon UHD DIGISUPER 86 Canon's flagship field box lens. Canon Look around the sidelines of any Olympic event and you’ll see rows of photographers with enormous zoom lenses— gear that can easily climb above the $10,000 mark. They’re the stuff photographers dream about, but that equipment can seem relatively puny when compared to the massive broadcast lenses broadcasters are using to capture its insane amounts of Olympic coverage. In fact, the lenses attached to those TV cameras can push price tags to $200,000 and beyond. That’s a lot of sweet glass. Canon has more than 70 broadcast box lenses on site in PyeongChang, including some of the flagship UHD DIGISUPER 86, which you can buy right now for $222,980 on the open market. It weighs 59.5 pounds, and is 10 inches wide and tall and 24 inches long. To look at it, you could mistake it for a really fancy toaster oven with glass on one end. But you won

Want to see how popular full-frame cameras from Sony, Nikon, and Canon stack up? Here’s a 20-minute comparison video from  Dan and Sally Watson  that looks at the differences between the Sony a7R III, Nikon D850, and Canon 5D Mark IV. The video runs through pretty much all questions you might have about the cameras, covering everything from ISO handling to video. For usability, the LiveView showing up in the viewfinder of the Sony A7R III is a major plus point for Sally. Dan agrees, pointing out that the Nikon D850 is the weakest when it comes to LiveView usability. For regular autofocus, though, Dan concluded that the Nikon D850 performs the best. It was the only camera that locked focus for every frame of the model running towards the camera. Here are some images from the Sony a7R III: Here are some images from the Nikon D850: Finally, here are the images from the Canon 5D Mark IV: Overall, the Nikon D850 “probably performed the best,” Dan says. In fact, he recommends it over a

The Fujifilm X-H1 is the company's range-topping APS-C camera and its most video-capable camera to date. It's based around the same 24MP sensor as the X-T2 but adds in-body image stabilization as well as a more comprehensive set of video options. The X-H1 looks like a fractionally larger X-T2 but with the sloped viewfinder 'prism' and top-panel LCD that hint at the styling of the GFX 50S. Fujifilm has also clearly been listening to critics of the X-T series and have made the camera's grip and buttons significantly larger, particularly the AE-L and newly-added AF-On buttons. Key specifications 24MP X-Trans APS-C sensor 5-axis in-body image stabilization (rated at 5EV) * 3.69M-dot OLED viewfinder Touch sensitive rear LCD with two-axis tilt DCI and UHD 4K capture at up to 200 Mbps Slow motion 1080 (from 120 and 100 fps) Internal F-Log capture 24-bit audio capture Eterna/Cinema Film Simulation mode Timecode No-blackout continuous shooting Twin UHS-II-compatible c

got the image of the telephoto zoom lens "70-210 mm F / 4 Di VC USD" which Tamron announces soon from overseas sources.