The Olympus OM-D E-M1X can detect planes, racing cars and trains. Once tracking has began, the camera is good enough at figuring out the rest for itself, letting you concentrate on your composition. Like EyeAF, you cease to worry about which focus area to choose and where to position it. The first iteration of this, seen on the a6400, impressed me so much that I started to use subject tracking with more confidence for anything involving moving subjects, be they slow or fast, big or small. BANDING IN HELICON REMOTE ISOThis is when eye detection came onto the scene and Sony, with its single phase detection point focusing on the subject’s eye, has raised the bar to new heights.Ī6400, 1/640, f/2.8, ISO 5000 – FE 70-200mm f2.8 GM One of them is face detection but somehow it never managed to take off completely because of the imprecision in focus accuracy (the nose or ears can often be sharper than the eyes for example). More and more settings have been added to facilitate subject tracking. While most DSLRs continue to rely on a separate phase detection sensor to calculate focus, mirrorless cameras have contributed to the cause by increasing the number of focus points and embedding them on the image sensor directly, as well as pushing the performance of contrast detection AF to new levels. BANDING IN HELICON REMOTE MANUALToday it is one of those things most of us can’t live without, although we must give credit to the photographers that still enjoy manual focus. The first cameras with autofocus were introduced in the seventies so as you can imagine, the technology has come a long way. Even micro vibrations can be a problem and that’s why some video makers prefer a non-stabilised body for specialised shots such as camera cars.īut if you don’t pixel peep and learn to work with the limits of this technology for video, you can get excellent results like the ones below. There have been improvements, especially when it comes to static shots, but distortion and artefacts can be visible when you perform movements. There is an application for which image stabilisation is not yet perfect and that is video. Another tourist had to use a tripod to take the same image. I managed a 4s exposure hand-held (photo above) by resting my arms on a bar. The latest example is from my recent trip to Scotland where I was visiting Smoo cave. But I’ve lost count of how many times in-body stabilisation has allowed me to bring back a shot without the hassle of carrying extra gear. S1R, 4s, f/5.6, ISO 160 – Lumix S 24-105mm f4 (Dual IS)Ĭlearly there are applications where a tripod remains essential, or is simply the preferred method of the photographer. BANDING IN HELICON REMOTE FULLSony included Full HD video on the first E-mount Nex cameras in 2010 and on their RX models, they also added impressive slow motion capabilities up to 1000fps. In the mirrorless segment, Panasonic was the first to believe in it when it introduced the GH1 in 2009. The huge success of the 5D II encouraged other brands to invest in video seriously. Despite not offering manual exposure controls, it shook the market thanks to the image quality and depth of field control offered by the 35mm format sensor. In 2008, the Canon 5D mark II came out with Full HD video (1080p). The product that changed the game wasn’t mirrorless though. BANDING IN HELICON REMOTE MOVIEThose only interested in stills are likely to ignore the video recording button, but many others choose a camera also based (or solely based) on its movie capabilities. It sounds weird to call video an extra feature these days given how integral it has become to digital cameras. To answer this, we made a list of all the extra features on the mirrorless cameras we’ve reviewed over the past five years, and thought about what kind of photographers can best take advantage of them.Ħ. So what are the most interesting features that have been introduced to mirrorless cameras and how much of a difference do they make today? Well, undeniably some features have had a significant impact while others can easily be forgotten. If you open a user manual today, the number of functionalities can be overwhelming, to the point where you start to ask yourself: do I really need all this? Mirrorless cameras have followed the same trend and are responsible for many of the new features introduced over the past 10 years, probably as part of a strategy to make this new wave of products more appealing to consumers. Think about the first integration of autofocus in the seventies and eighties, or the video revolution that began in 2008. Some of these “extra” features would go on to become so standardised that today most of us wouldn’t consider a camera without them. In addition to constant improvements in image quality, speed and performance, engineers have worked hard to expand the shooting possibilities beyond the basic exposure settings. Electronic devices have evolved considerably over the years and cameras are no different.
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