BTM_Pix

Its a really great little lens, particularly for non-IBIS MFT cameras like the Pocket (particularly the original version for keeping everything small). The lesser spotted 35-100mm companion that they produce is also worth picking up for the same reasons.

Let me get the calipers out and find out for you... They are close enough to look like you might get away with it but I couldn't be sure. Thats a nice looking system though. MapCamera have a used one currently at almost exactly $1000 which, sadly, is as attractive as it is inaccessible as they don't do mail order and Japan is still closed to visitors. Hopefully a sign of the direction of travel price wise though.

It uses a 3M type of peel off strong sticker. The beauty of the magnetic one is that it (intentionally obviously !) breaks away from the camera if it takes a knock so whatever is attached to the filter part will suffer rather than the camera. In hindsight though, I think the alternative one that just provides the screw thread might have been a better idea (I have a similar one on the RX100) as the ND will more or less be a permanent fixture. This video gives a good overview comparison of fitting and using both I've noticed that a lot of the non-photo/video channel stuff I watch on YouTube are using these now and in the main their output looks a lot better. Of course when you finally relent and get your Sigma FP, the Fotodiox EF-L AF adapter with internal variable ND will be waiting for you to roll your own full frame RAW shooting version of the FZ2500 😉 With it supporting IS lenses, it also mitigates the lack of IBIS in the camera and the EF mount is obviously a gateway to putting your F mount or CY mount or R mount etc lenses on it and still having the benefit of the variable ND for all of them.

Yes, we were indeed. I shamelessly lifted our conversation as the basis for that post 🙂 Its OK. Its a bit noisy, of course, so I definitely need to experiment with the exposure to get the most out of it, especially in piercingly bright sunlight like this, but even in this rough test (grabs from 1080/24p recording) it was easy to get it in to ballpark of the sort of style that we were discussing. Yes, it does work on the LX10/LX15 but I haven't done the stepper test. As far as I know, its the same sensor so should be the same but the FZ has a few more controls like master pedestal that could influence it. These are from my hacked LX15 using Cinelike D and an old Sony camcorder Teleconverter attached with a magnetic filter adapter. The top row shows the wide end of the lens, the middle row shows the long end of the lens and the bottom row shows the long end of the lens with the TC attached. For anyone looking for a pocketable travel camera (at a cheaper cost and with a faster lens than the RX100) then the LX10/15 is a good option anyway but is far more versatile with the hack and the TC You are talking to a man who bought the Philips CD-I at launch and declared it to be the future of home entertainment, so lets not be too hasty on the logic front. Yep, the purpose was to come up with something akin to the WYSIWYG nature of reversal film and have the same rigid guideline of it having a fixed ISO (100 in this case) with a simulated push ability of a couple of stops so you can expose at ISO200 or ISO400 if needed. So if you can't make the exposure at ISO400 then you need to light it, accept it as is or stop shooting ! The FZ is suited to this restriction for daylight use, as are similarly equipped cameras, because the internal ND makes the low ISO restriction easier to deal with The other similar approach was to make something akin to negative film with the same restriction ISO wise but with an implicit 'developing' stage LUT/Preset. The approach that I've kind of settled on is a hybrid by using the optional VLOG-L profile and single shot preset of three corrections and a LUT and taking the dogmatic approach of applying it equally and rigidly to every shot, even if an individual shot could be improved by a bit more tweaking. I'm looking to re-instigate the discipline of shooting on Kodachrome back on myself albeit in a suspiciously sado masochistic manner ! I can't think of another camera that does everything it does in one unit but of course I can think of numerous ones that rinse it in terms of image quality. So its always a question of whether the balance of all round functionality and ease of use outweighs the lack of comparative flat out image quality. Obviously that is a question of personal preference and/or the application you're using it for. With regard to the lens by the way, the stabilisation at the long end is borderline witchcraft but the autofocus is not all that. Or even half all that. It gets an handshake back from the camera for every command so it should let you know with a pop-up if something is amiss. To double check, though, set your camera to one of the colour profiles and then use the stepper to go through the Black&White profile as the change from one to the other will be much more noticeable 😉 The simple solution is to knock it down to 1 second intervals so she only has to sit motionless for 4 hours ! What I would do for the first pass is not alter the sharpness and noise reduction so just leave their range to be 0 and 0 and then just use the colour and contrast permutations. Once you are happy with a specific colour and contrast permutation then do another pass with those set as the range (so if colour was 2 then just set the range to be 2 and 2 etc) and then do permutations of the sharpness and NR. Again you can also reduce the permutations of the second pass considerably by clamping the upper limit of sharpness and NR to way below 5 as there is a lot of nastiness at those levels. Having said that, you never know whether some bizarre combination of +4 sharpness and +5 NR might not open up a secret portal into an incredible look !

Funnily enough, I actually used the stepper app in anger last year to go through all the profiles in an FZ2500 stepping through -5 to to +2 in contrast with saturation going from -5 to +3, so there were 72 permutations in all per profile. I didn't bother with stepping through the sharpness and NR parameters as it wasn't relevant at the time as I was just looking at colour and contrast. The idea was to see if there is any unconventional wisdom to be had such as using untapped settings such as Portrait with -4 contrast and +2 saturation etc as the end goal was to make a profile that could be used as an out of camera look that would play well on its own or to create one that played well with a particular emulation LUT. I've always had this nagging thing about giving away too much colour and contrast in the capture because thats what everybody does to get a flat image and then has to add it back post capture with all the artefacts that can bring. What I found interesting is that with everything except the two Cine profiles, there were some terrible artefacts happening (particularly in the sky) in some interactions between lower contrast and lower saturation and in fact the only way they cleared was when the saturation was actually boosted to +1 or +2. That made me think that my suspicion about giving up the goods saturation wise potentially being a folly was quite accurate. The two Cinelike profiles don't seem to share these issues but, of the two though, going by trying to retain saturation in the capture, I actually favoured what I saw from the usually less fashionable Cinelike V profile. The net result was that with the stepper app, I ended up with a single video file where it was easy to see all this laid out and whilst the Cinelike V being preferable to my eye than the Cinelike D was a bit of an eyebrow raise, the process quickly let me eliminate the possibility of there being any particularly revolutionary permutations with the other profiles. It saved an absolute shit load of time and as time is money then I used the saving to buy the V-LOG upgrade for the camera 😉

If you don't mind a paid option ($49.99) then have a look at EditReady for transcoding them into ProRes which FCP will be happy with. Free trial available too so you can make sure it works with your fancy new machine 🙂 https://www.divergentmedia.com/editready

For all of the cameras that have been produced before this new revolution that would benefit from it. Having the external ProRes RAW option on my Sigma FP, for example, is great but I don't want to have a Ninja V attached to it as it defeats the camera's biggest strength. Being able to add non RAW versions of ProRes to things like my Leica SL which does 10 bit external would also be a boon, again without having to add the big screen.

I suspect that what the Nikon Z9 is offering in terms of what can be recorded internally is very concerning for Atomos. Not in terms of the Z9 itself, as its still quite a niche camera, but as an indicator of the direction of travel. Now that the genie is out of the bottle in terms of a manufacturer incorporating ProRes and ProRes RAW internally, it will be difficult for the others not to follow suit and that places Atomos on a bit of a sticky wicket at least in the Ninja V+ territory. Obviously, there is a lot more to the product in terms of the monitoring options it provides but there are other solutions for that who's price isn't inflated by requiring the recording capability and these are also a lot less demanding in terms of power. Hopefully it will nudge them to produce the 4K ProRes/ProResRAW version of the Ninja Star that they have inexplicably resisted producing !

Its more or less Dogme 95 without the tapes. Maybe time to update the manifesto and create Dogme 21

You are missing the subtleties of the LX100 producing an organic diffuse image that it is rendering with a soft film like grain. No, hang on, scratch that, I was missing the stupidity that I had chosen to export a duff frame out of the sequence where the focus was off.

Runners shuttling memory cards to onsite editors used to be common practice before network based pipelines became more ubiquitous. Even with a fast network and a remote editor, someone with an iPhone sat behind me in the crowd still has the fastest path from incident to publishing ! Voice notes are easily embedded into the jpeg using the in built mic on the camera so the shooter can quickly add notes about the image for the remote editor or for themselves if they are working solo. Its very useful to quickly add player identities particularly as they may not be visible in the actual shot and it saves a lot of time not just for remote editors but for when working solo too. Due to the use of code replacements, it is already fast to type input based on audio so there is only a marginal gain in speed to be had if it was automatically transcribed and one which would have to be offset against potential errors. So if you are at a sporting event and see a shooter apparently whispering sweet nothings to his camera then rest assured he hasn't lost the plot and similarly he is not using those headphones plugged into his laptop to listen to music. Except perhaps if its at the cricket.

No, its an either/or. You configure the network connection of the camera to ftp the images either to your own laptop, if you are working solo, or directly the agency's server where the remote editor pulls them down and works on them. There is usually minimal adjustment of the image (or what there is will be an automated preset on ingest) so the time drain is the embedded captioning for the news desks as you need to identify the players in the shot, their teams, a description of the incident, the name of the event etc. The use of code replacements that you have prepared prior to the game massively speeds up the process (typing "l11f" for example will produce "Mohamed Salah of Liverpool FC") but its still time consuming to identify the players and accurately complete the rest of the requirements when the game is still going on around you and there is time pressure to get the images out as fast as possible. So this is where remote editors are an absolute boon as you can just instigate the transfer a few candidate images and get on with shooting. Rights issues would normally preclude pushing images out directly to social media and as I once had the misfortune to caption an image saying that a player "takes a shit at goal" its probably not a bad thing ! There are a lot of variables (not least of which is good network infrastructure at the stadium) but getting the image out of the camera to a remote editor and them then taking care of it can produce those sort of turnaround times. Shooting solo with wireless ftp out of the camera to the laptop then from pressing the shutter to pressing upload of the final processed and captioned image to the agency's ftp server (which then relay distributes it to the news desks) my typical end to end time would be under two minutes for a critical image.

I think Sony might have forced their hand to go no holds barred. The deal that Sony did to supply Associated Press that they have now followed up with the same type with the Press Association must have spooked them a bit. At the end of the day, as soon as Sony fleshed out their lens lineup to include the 400mm f2.8 then Nikon and Canon had a problem. Nikon are the ones now playing catchup as it is them that don't have a native 400mm f2.8, which makes deals like the ones with AP and PA off the table for them. So they've compensated with a wild spec body to keep them (more than) relevant and give a reason to go with them while the 400 is still not there.

Until the wave of breathless of "reviews" from the usual suspects subside, you can use the Sony a1 as a proxy for how the electronic shutter game has moved on. Certainly, as it is Nikon's flagship stills camera then they'd have to be stark raving mad to not be on a par with it and the specs would suggest it will be. To throw their lot in completely with electronic shutter makes me confident that they are confident that they have made the issues go away, particularly as its a sports camera and the LED ad boards will be its achille's heel if not. After shooting with Nikon for over 40 years, this is the Z series camera that actually interests me.

It is already there on the existing cameras. You use the lock button to protect the three or four selects from a burst and if you are using the Ethernet or WiFi ports this then automatically instigates the transfer of only those images to the local laptop or down the line to the remote editor if you are using one. The burst can then be cleared using delete all on the camera and it will delete everything except those that have been locked * If you are ingesting manually off the card you then use the "only locked images" option on your editor to ingest only those images. The dedicated Lock button is a big deal for a live editorial workflow (something Sony missed with the A9) and its going to take some getting used to on the Z9 that Nikon have for reason decided to swap its position with the Playback button. * In reality, clearing cards like this is not something that I would do regularly as when working live its easy to miss or underestimate the importance of a seemingly innocuous incident that becomes "the story" later on so it was prudent to leave everything on the card in the event that you might have a piece of it.

There is some ambiguity in different explanations of this from different sources but it caps out at "only" 20fps JPEG+RAW and 30fps JPEG only (which is fine by me). The buffer in either mode is said to be in excess of 1000 shots.

For some practical perspective, if we consider shooting cricket as an example. Shooting from the typical boundary position with a crop sensor and a 400mm lens you will have a frame covering roughly six metres and with a ball being bowled at, say, 90mph, it will take about 150ms for the ball to pass through your frame. Shooting at 14fps, the interval between shutter activations will be about 70ms, so you will have roughly two images being captured within the total travel of the ball through your frame. This equates to the ball travelling three metres between shots. With 120fps, the interval between shutter activations drops down to just over 8ms, so you will now have roughly nineteen images captured within the total travel of the ball through your frame. This equates to the ball travelling 32cm between shots. That is not only a hell of a lot more chances to not only actually capture the ball in the frame at all ( 🙂 ) but for you to capture it at critical moments of it hitting the bat or the stumps. Don't get me wrong, we have survived perfectly well shooting cricket at much slower fps and still manage to hit the critical moments (and 120fps is way over the top) but anything that makes it easier will be welcome. Does it make it less skilful ? Not in this instance as the primary skill I found that I required for shooting test matches was not nodding off midway through day two of the five ! As I say, the 120fps mode is overkill and the restrictions involved reflect that, but I'm interested to know what restrictions are in play with this mode from the spec sheet "High-speed frame capture (C30): approx. 30"

Number of effective pixels: 45.71 million pixels Image sensor: 35.9 x 23.9 mm size CMOS sensor, Nikon FX format Total pixel count: 5.237 million pixels Dust reduction functions: Image sensor cleaning, image dust-off data acquisition (NX-Studio required) : Number of recorded pixels For FX (36 x 24): 8256 x 5504 pixels (size L: 45.4M), 6192 x 4128 pixels (size M: 25.6M), 4128 x 2752 pixels pixel (size S: 11.4M) DX (24x16): 5392x3592 pixels (size L: 19.4M), 4032x2688 pixels (size M: 10.8M), 2688x1792 pixels pixel (size S: 4.8M) At 1:1 (24x24): 5504x5504 pixels (size L: 30.3M), 4128x4128 pixels (size M: 17.0M), 2752x2752 pixels pixels (size S: 7.6M) For 16:9 (36x20): 8256x4640 pixels (size L: 38.3M), 6192x3480 pixels (size M: 21.5M), 4128x2320 pixels (size S: 9.6M) File format (quality mode) NEF(RAW): RAW 14 bit (lossless compression, high efficiency*, high efficiency), size L/M/S selectable (size M/S is 12 bit, fixed to lossless compression) Fixed) JPEG: JPEG-Baseline compliant, compression ratio (approx.): FINE (1/4), NORMAL (1/8), BASIC (1/16), size priority or image quality priority selectable NEF(RAW)+JPEG: Simultaneous recording of RAW and JPEG Picture Control System: Auto, Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat, Creative Picture Control (Dream, Morning, Pop, Sunday, Somber, Drama, Silence, Bleach, Melancholic, Pure, Denim, Toy, Blue, Red) Sepia, Blue, Red, Pink, Charcoal, Graphite, Binary, Carbon), all adjustable, custom picture control Custom picture controls can be registered. Storage media: CFexpress card (Type B), XQD card Double-slot: Sequential memory card recording, backup recording, RAW+JPEG split recording, JPEG+JPEG split recording and card-to-card copying Copying between cards possible Supported standards: DCF 2.0, Exif 2.32 Viewfinder: Electronic Viewfinder, 1.27cm/0.5" Quad-VGA OLED, approx. 3.69 million dots, brightness adjustable (auto, manual 16 steps), colour customisable brightness adjustable (auto, manual 16 steps), colour customisable Field of view: approx. 100% up/down, left/right (vs. actual screen) Magnification: approx. 0.8x (with 50mm lens, at ∞, -1.0m-1) Eye point: 23mm from the rearmost point of the eyepiece (at -1.0m-1) Diopter adjustment range: -4 to +3m-1 Eye sensor: Automatic switching between viewfinder display and image monitor display Image monitor: Tiltable 8cm/3.2" TFT LCD monitor (touch panel), approx. 2.1 million dots, 170° viewing angle, approx. 100% field of view, brightness adjustable (11 manual settings) Brightness adjustable (manual 11 steps), colour customisable, horizontal and vertical tilting Shutter type: electronic shutter, with electronic shutter sound, sensor shield Shutter speed: 1/32000 to 30 sec. (steps: 1/3, 1/2, 1, extendable to 900 sec. in shooting mode M), Bulb Time Flash sync shutter speed: 1/250 sec. or slower than 1/200 sec. (guide number decreases for 1/200 to 1/250 sec.). Auto FP High Speed Sync at shutter speeds up to 1/8000 sec. Release modes: single frame, low-speed continuous shooting, high-speed continuous shooting, high-speed continuous shooting, high-speed frame capture shooting, self-timer Shooting Continuous shooting speed: Low-speed continuous shooting: approx. 1~10 frames/sec, High-speed continuous shooting: approx. 10~20 frames/sec, High-speed frame capture (C30): approx. 30 High Speed Frame Capture (C120): approx. 120 frames/sec. Self-timer: Activation time: 2, 5, 10, 20 seconds; Number of frames: 1 to 9; Continuous shooting interval: 0.5, 1, 2, 3 seconds Metering system: TTL metering with image sensor Metering Mode Multi-pattern metering Center-weighted metering: Standard (equivalent to ø12mm), Small (equivalent to ø8mm), Changeable to average over the entire image, approx. 75% center-weighted Spot metering: Measures approx. 4mm diameter, and the metering position moves in conjunction with the focus point. Highlight-weighted metering Metering range: -3 to 17EV *ISO100, f/2.0 lens, room temperature 20°C Shooting mode: P: Program auto (program shift possible), S: Shutter priority auto, A: Aperture priority auto, M: Manual Exposure compensation: Range: ±5 stops, Compensation step: 1/3, 1/2 step changeable AE lock: Brightness value lock system ISO sensitivity: ISO64~25600 (step range: 1/3, 1/2 step), approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO64, approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO25600 Auto sensitivity control is available for ISO25600 with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO102400). Active D-Lighting: Auto, More 2, More 1, More, Standard, Less, None Multiple exposures: additive, additive average, comparative light composite, comparative dark composite Other functions: HDR composite, still image flicker reduction Autofocus system: Hybrid AF (phase detection AF/contrast AF), with AF auxiliary light Detection range: -6.5 to 19EV (-8.5 to 19EV when Starlight View is enabled) *Still image mode, single AF Servo (AF-S), ISO100, f/1.2 lens When using a lens, room temperature 20°C Lens servo: - Autofocus: Single AF Servo (AF-S) or Continuous AF Servo (AF-C), Full-time AF (AF-F) (motion mode only), Predictive Focus AF-F) (motion mode only), with predictive focus drive Manual focus (M): focus aid available Manual focus (M): Focus aid available ・Focus point: 493 points *Still image mode, image range FX, single point AF AF area mode: Pinpoint AF (still image mode only), Single Point AF, Dynamic AF (S, M, L, still image mode only), Wide Area AF (S, L) Area AF (S, L), Auto Area AF, 3D-Tracking (still image mode only), Target Tracking (movie mode only) Focus lock: Press the centre of the sub selector or press the shutter button halfway when single AF servo (AF-S) is selected. In-body image stabilisation: 5-axis image sensor shift compensation In-lens image stabilisation: Lens shift method (when VR lens is used) Flash TTL flash control: i-TTL-BL (Multi-pattern, Center-weighted or Highlight-weighted), Standard i-TTL (Spot) Standard i-TTL (spot metering) available Flash modes: First Curtain Synchro, Slow Synchro, Second Curtain Synchro, Red-eye Reduction, Red-eye Reduction Slow Synchro, Flash Off Exposure compensation: -3 to +1 stops, 1/3 and 1/2 steps available Ready light: Lights up when the battery is fully charged when using a speedlight (sold separately), blinks when warning of underexposure due to full flash Accessory shoe: Hot shoe (ISO 518) with synchro contacts, communication contacts and safety lock mechanism (lock hole) Nikon Creative Lighting System: i-TTL, radio-controlled Advanced Wireless Lighting, light-controlled Advanced Wireless Lighting Lighting, Modeling Flash, FV Lock, Flash Color Temperature Information Transmission, Auto FP High Speed Synchro, Unified Flash Control White Balance: Auto (3 types), Natural Light Auto, Sunny, Cloudy, Sunny Shade, Bulb, Fluorescent (3 types), Flash, Color Temperature Setting (2500K~10000K), Preset Manual (2500K~10000K), Preset manual (6 settings can be registered), All settings can be fine-tuned. Bracketing: AE and Flash Bracketing, AE Bracketing, Flash Bracketing, White Balance Bracketing, Active D-Lighting Bracketing Active D-Lighting bracketing Movie function Metering: TTL metering with image sensor Metering mode: Multi-pattern metering, Center-weighted metering, Highlight-weighted metering Number of recorded pixels/frame rate: 7680 x 4320 (8K UHD): 30p/25p/24p, 3840 x 2160 (4K UHD): 120p/100p/60p/50p/30p/25p/24p 1920×1080:120p/100p/60p/50p/30p/25p/24p*120p:119.88fps, 100p:100fps, 60p:59.94fps, 50p:50fps, 30p:29.97fps 25p:25fps, 24p:23.976fps File format: MOV, MP4 Video compression: Apple ProRes 422 HQ (10bit), H.265/HEVC (8bit/10bit), H.264/AVC (8bit) Audio recording method: Linear PCM (when the video file format is MOV), AAC (when the video file format is MP4) Recording device: Built-in stereo microphone, external microphone can be used, microphone sensitivity can be set, attenuator function Exposure compensation: Range: ±3 stops, Compensation steps: 1/3 and 1/2 steps ISO sensitivity (recommended exposure index) M: ISO 64 to 25600 (step range: 1/3 or 1 step), with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO 102400) increments to ISO 25600. Automatic sensitivity control (ISO64 to Hi2.0), upper limit of sensitivity control can be set. P, S, A: Automatic sensitivity control (ISO64 to Hi2.0), upper limit sensitivity can be set. Other functions: Time-lapse movie, Electronic image stabilization, Timecode, Movie Log (N-Log), HDR (HLG) movie Active D-Lighting: More, More, Standard, Less, None Playback functions: Single frame playback, Thumbnails (approx. 4, 9, 72 segments), Enlarged playback, Trimming during enlarged playback, Movie playback, Histogram display, Highlight Histogram display, highlight display, shooting information display, location information display, automatic rotation of shot image to vertical position, rating, voice memo input/playback, IPTC preset attachment/display IPTC presets can be attached and displayed. USB: Type-C terminal (SuperSpeed USB) (connection to a standard USB port is recommended) HDMI output: HDMI terminal (Type A) External microphone input: Stereo mini-jack (3.5 mm diameter), plug-in power microphone Headphone output: Stereo mini-jack (3.5mm diameter) 10-pin terminal: Available (can be used with optional remote cord MC-30A/MC-36A) Wired LAN: RJ-45 connector IEEE802.3ab(1000BASE-T)/IEEE802.3u(100BASE-TX)/IEEE802.3(10BASE-T), Data transfer rate(standard value): 1000/100/10Mbps (auto-recognition), Port: 1000BASE-T/100BASE-TX/10BASE-T dual-use port (AUTO-MDIX) Wi-Fi Compliant standard: IEEE802.11b/g/n/a/ac Frequency range (centre frequency): 2412~2472MHz(13ch), 5180~5700MHz Output (EIRP): -2.4GHz: 8.4dBm, -5GHz: 9.0dBm Authentication method: Open system, WPA2-PSK, WPA3-SAE Bluetooth Communication method: Bluetooth standard Ver.5.0 Frequency range (centre frequency): Bluetooth: 2402~2480MHz, Bluetooth Low Energy: 2402~2480MHz Output (EIRP): Bluetooth: 2.9dBm, Bluetooth Low Energy: 1.4dBm Communication distance (line-of-sight): Approx. 10m (when there is no radio interference). Communication distance may be affected by obstructions and radio wave conditions. Supported satellites: GPS satellites (USA), GLONASS satellites (Russia), Quasi-Zenith Satellite MICHIBIKI (Japan) Information: Latitude, Longitude, Altitude, UTC (Coordinated Universal Time) Time adjustment: Date and time information acquired by the location information function can be used to adjust the camera's date and time. Logging: NMEA format compliant Logging interval: 15, 30 seconds, 1, 2, 5 minutes Logging time: 6, 12, 24 hours Log deletion: possible Battery: Li-ion rechargeable battery EN-EL18d Instead of EN-EL18d, EN-EL18c/EN-EL18b/EN-EL18a/EN-EL18 can be used. However, the number of frames that can be shot (battery life) is lower than when using the EN-EL18d. However, the number of frames that can be shot (battery life) is reduced compared to when using EN-EL18d. Charging using the EH-7P AC adapter is only possible when using EN-EL18d/EN-EL18c/EN-EL18b. only when using the EN-EL18d/EN-EL18c/EN-EL18b. Main body charging AC adapter: Main body charging AC adapter EH-7P AC adapter: AC adapter EH-6d (used in combination with power connector EP-6a) (sold separately) Dimensions (W x H x D): approx. 149 x 149.5 x 90.5 mm Weight: approx. 1340g (including battery and memory card, excluding body cap and accessory shoe), approx. 1160g (body only) Temperature: -10°C to 40°C (-4°F to 104°F) Humidity: 85% or less (non-condensing)

Periods that were literally measured in days in the case of a few particularly damp Test matches that I covered. Would have had time to submit the images as watercolours.

It has a thing called Leitz Looks which Leica have tuned to give authentic simulations from cameras like the Monochrom. The auto focus on it is supposed to be pretty shit, so that's authentic too.

Do you know how much of the 1" sensor Leica take off people with their phone ? (Obviously they are doing some serious taking off people on the money front for it !)

A lot of whether this 120fps functionality (which I'm guessing will be electronic shutter, jpeg only and limited burst) is a boon or a headache depends on the event and the delivery type. If you are not shooting live editorial and you have time to ingest at your leisure then its likely only going to be a boon. But for live editorial, its going to be largely dependent on the event. For something like cricket or tennis where you have a very fast moving object but natural pauses within the game to review/ingest then it will be a boon as you'll have a much better chance at capturing the peak moment. With football on the other hand where the game is continuous (with the expectation of your delivered output to be so too) and also doesn't fall into particularly predictable patterns of play to provide pauses then the ingest/review of multiples of the current maximum frame rates is going to be a headache. Depending on the degree of anticipation and post action/safety tail of a given photographer, an incident such as an aerial challenge for the ball might cover say two seconds of burst spanning a total of 30 frames. If the peak point of the action is halfway through that burst then scrolling to it will be 15 clicks/rotations of the dial whereas at even 60 fps then you are looking at quadrupling the navigation time. Having minute differences between frames will also add to that as you inevitably rock back and forth between a range of frames looking for the perfect one to ingest to your laptop or send to the remote editor. So, in that respect it is one of those instances where perfect might well be the enemy of the good. Hopefully it will be adjustable and assignable to a switch, because having the ability to switch in and out of something like 40 fps for a set piece situation such as a free kick or a penalty would be a boon. Its a pity that circumstances have conspired to coincide the release of a camera that looks like it could be the last word for professional sports photographers with a period of time that looks increasingly likely to be the last days of the actual job itself.

Its the remote editors that are trying to deal with the live output of the cameras at events that I feel sorry for At 120fps there'll be more shit coming down those pipes than the ones the UK water companies are currently putting into the sea.

Sony had a far better idea about how to graft an RX100 to an Xperia over eight years ago now. And it used the whole sensor. Typical Sony, give them an inch and they'll take 40% of it off you.

Both ends of the 10.9-34mm f1.7-2.8 lens of the Panasonic LX100 (4K/24p video grabs)