ProPhoto AU I236 2022_downmagaz.net

CANON EOS R3 Why Canon’s First Pro Mirrorless Camera Is A Winner What’s The Zoom Boom Future For Professional Samyang Photography AF 24-70mm In Australia? f/2.8 FE Industry Experts Tackle The Big Issues ISSUE 236 A$ 9.99 NZ$11.99

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Contents 38 ON TRIAL – LEICA M11 Issue 236 | Vol. 78 No.3, 2022 It’s always been a challenge to balance the traditional elements of Leica’s famous rangefinder camera with the latest digital imaging technologies. The 6 NEWS & NEW PRODUCTS M11 is the most digital ‘digital M’ yet, but it’s also the best executed and the new conveniences greatly enhance its useability. It’s been a busy couple of months, headlined by Canon’s launch of a new APS-C mirrorless camera system based on its RF mount – it kicks off with 46 IN PRACTICE – A FEW OF MY FAVOURITE THINGS two camera bodies and two dedicated RF-S series lenses. Over at Sony, the E/FE mount system has ticked over to 70 lens models, making it the most Photographed in one of his favourite locations on Sydney Harbour, Stu extensive in the mirrorless world right now. Fujifilm begins a new program Spence reveals some of his quirkier treasures and explains why they’re of X-mount model updates with the X-H2S, which introduces the fifth- important to him. generation X-Trans sensor and X Processor engine – together they deliver continuous shooting at a zippy 40fps! 48 ON TRIAL – SAMYANG AF 24-70mm f/2.8 FE 20 SPECIAL FEATURE – WHAT IS THE FUTURE FOR Samyang dives in the deep end with its first autofocus zoom for a mirrorless PROFESSIONAL PHOTOGRAPHY IN AUSTRALIA camera system. Even in Sony’s FE mount alone there’s lots of alternatives for a 24-70mm f/2.8 zoom, so the Samyang model faces some stiff competition. Five industry professionals – from very diverse areas of practice – have their As we’ve now come to expect from the brand, it’s up to the challenge. say on the key topics challenging the professional photographer in 2022. And they have some ideas about what should happen to ensure that there’s still a This issue’s main cover photo is viable – and valued – profession in the future. by Andrey Krupenko. Also featured is Canon’s first top-end mirrorless 26 ON TRIAL – CANON EOS R3 camera designed to replace the pro-level DSLRs. Our comprehensive The EOS R3 flagship is designed to lure loyal users out of their top-end (and test starts on page 26. much-loved) Canon DSLRs, but it’s up to the challenge, leveraging all the advantages of the mirrorless configuration to deliver a camera that’s more 03 compact, lighter and much faster. That’s just for starters.

FIRST FRAME VOLUME 78 NO.3 Issue 236 / Volume 78-3 THE WAY AHEAD. SOME ANSWERS. Future Publishing Australia MAYBE. PO Box Q1179, Queen Victoria Building, NSW 1230 Tel: 02 9955 2677 Fax: 02 9955 2688 As I flagged in the last issue, photographers in Australia, it had enough Email: [email protected] in this one we’re attempting to members to make a difference. It was prepared Web: www.digitalcameraworld.com/prophoto find some clarity as to what’s to take on issues that affected working ahead for professional pho- photographers in general and, in its heyday, Subscription enquiries: tography in Australia. This has provided valuable education, support and an Please call CRM on (02) 8227 6486 been prompted – in part – by the demise of the accreditation system that was useful to both Australian Institute Of Professional Photography the photographer and the client. As you’ll Editorial (AIPP) at the end of last year, leaving profession- read, many of those who participated in our Editor: Paul Burrows al photographers with no collective means of interview believe that a professional body is representation in this country, and also robbing very important if not essential. Penny Boyer, [email protected] many of a nourishing community. So far, there who spent over three decades in photography are no signs of any replacement organisation education in Australia, stated, “I believe there Art Director: Kristian Hagen emerging – which, by the way, would need to needs to be a professional photography voice… [email protected] be a very different animal – so everybody is because without it, the industry is being now essentially left to make their own way in an degraded. Where are the standards?” Sub-editor: Sharmishta Sarkar already-fragmenting industry. [email protected] What this organisation might look like, how Much of this fragmentation has come as a it will operate and be funded – so it’s effective Contributors result of the digital technologies allowing us as the voice of professional photography in this Bruce Usher, Trevern Dawes, to do so much more without needing other country – are questions that are much harder Stephen Dawson, Alison Stieven-Taylor. services or support which, arguably, is a good to answer. Nevertheless, this discussion needs thing, but it’s also meant a whole influx of new to be continued and with some urgency. This Photography players, many of them operating part time. This is reflected in another observation from Penny All copyrights and trademarks are recognised isn’t about being elitist or snobby because some Boyer, “Unless a group of young like-minded and respected. of these people are really very good at what professionals get together again to recreate they do, but the issue is quite a number don’t a version of the AIPP, the industry is facing Advertising charge what would be considered professional collapse”.  Advertising Director: Jim Preece fees. Over time, this has greatly devalued the market to the detriment of everybody… and The young Australian professional who [email protected] it’s probably a case of having let the genie contributed to the discussion is Jesse Lizotte Advertising Manager: Lewis Preece out of the bottle – there’s no way it’s going (yes, you might recognise the surname if you back in. Many clients have got used to paying know your Australian music) who, at 31, has [email protected] less and it’s going to take a very convincing already enjoyed considerable success – in his Advertising Liaison: Diane Preece argument to make them spend more, even if own right – as a fashion photographer working they’re potentially going to get a much better around the world. He’s going to be part of the [email protected] product. Yet this is probably at the crux of this future and he’s got some constructive things discussion. to say about how that might pan out. I was Management particularly taken with Jesse’s response to the Managing Director: Neville Daniels No matter what the field of practice, question about whether part-timers can still be professionalism in photography is about considered to professional photographers. 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“With other cameras it’s easy to feel like it is just a box that lets light in – a tool to get a job done with a distinct lack of connection to the creative process. Picking up a Leica, there’s that feeling the camera is going to aid in the discovery of creating something new. It’s something that inspires you to create. )RUPHLWFHUWDLQO\\IHHOVOLNHDGLɆHUHQW process than I’ve experienced in recent years. A process that I’m absolutely loving. A process that is bringing so much joy to creating again and again.” MARCUS BELL Wedding, Landscape and Documentary Photographer LEICA SL-SYSTEM Test drive a Leica SL-System today. SYDNEY | MELBOURNE | CHADSTONE leica-store.com.au

06 NEWS IMAGING PRODUCTS & PROCESSES Fujifilm X-H2S Is A Speed Demon Fujifilm’s much-anticipated new here are equally as extensive. In addition to when using longer focal length lenses, and X-mount flagship has arrived and its boasts uncropped 4K at 60fps and cropped at 120fps, a dedicated video start/stop button has some impressive specifications derived from it can also record 6.2K at up 30fps with the been added. The body is magnesium alloy its next-generation sensor and processor. choice of 8-bit 4:2:0 colour using the H.264 with sealing for dust and moisture, and While the X-H2S is very similar to the X-H1 on codec, or 10-bit 4:2:2 colour using H.265. insulation to enable shooting in subzero the outside, it introduces the X-Trans CMOS Additionally, the camera supports Apple temperatures down to -10º Celsius. There’s a 5 HS – a stacked BSI-CMOS sensor – and the ProRes 422 HO, ProRes 422, and ProRes 422 new OLED viewfinder with a resolution of 5.76 X Processor 5 that, Fujifilm says, is twice as LT. When recording ProRes, the X-H2S also million dots, a magnification of 0.8x (35mm fast as the previous X Processor 4 (as used in supports proxy recording such as ProRes equivalent) and a refresh rate of 120fps. The the X-T4). The effective resolution remains at 422 Proxy. It also has a new F-Log2 recording rear LCD touchscreen is adjustable for both 26.1MP. Not surprisingly though, the stacked capability with a dynamic range of 14+ stops. tilt and swing (as on the X-T4), and has a sensor is 3.6 times faster – in terms of its External recording over HDMI (there’s a full- resolution of 1.62 million dots. The X-H2S uses read-out speed – than the previous generation size connection) supports up to 4K at 120fps the same higher-capacity NP-W235 battery as X-Trans 4 imager. Consequently, the X-H2S can (with 10-bit 4:2:2 colour) or a RAW output (at the X-T4, so there’s a new battery grip – the shoot at up to 40fps – in either JPEG or RAW 4.8K or 6.2K) for encoding as ProRes RAW VG-HX – that accommodates two extra packs. – with continuous AF/AE adjustment, and with the Atomos Ninja V+ recorder (or BRAW There’s also a new transmitter grip called the record 4K UHD and DCI video at up to 120fps with BlackMagic). FT-XH – due for release in September – which (albeit with a 1.29x crop). The full sensor width has wired LAN connectivity and will allow for is used when shooting 4K UHD or DCI at 60fps, Fujifilm says the camera has a passive much faster file transfers than the built-in so it’s sampled from 6.2K. heat-dissipation structure to allow for up Wi-Fi (it also accommodates two extra to 240 minutes of 4K recording at 60fps. battery packs). With JPEG capture at 40fps, the burst However, interestingly, the X-H2S can be length is 184 frames, and it’s only marginally fitted with an optional cooling fan that can The Fujifilm X-H2S is priced at $4,449 for less, at 175 frames, with RAW shooting. be attached to the back of the camera for the body only and is available in Australia At 30fps a burst length of over 1,000 best- an extended shooting duration of up to from July. The FAN-001 cooling fan costs $369 quality JPEG frames is possible. Using the 50 minutes even in very high temperature and the VG-HX grip is $749. Fujifilm Australia camera’s mechanical shutter, the maximum environments. now provides a three-year warranty for shooting speed is 15fps (obviously again with X-series mirrorless cameras purchased locally continuous AF/AE adjustment). This shutter As noted earlier, the external design is from an authorised reseller. is actually a new unit with a durability of half essentially unchanged from the X-H1 and a million cycles. As is now becoming more has the same control layout based on a main For more information visit common on top-end mirrorless cameras, mode dial and a large OLED-type info read-out www.fujifilm.com.au. the X-H2S also has 10-bit HEIF capture (High panel on the top plate. However, the grip has Efficiency Image File) for HDR images. been reshaped to make it more comfortable The new sensor’s read-out speed of 1/180 seconds also helps minimise rolling shutter distortion, and there is no viewfinder black- out even at 40fps. To handle the huge data flow, one of the X-H2S two memory card slots is now for CFexpress Type B devices, while the second supports SD UHS-II. Importantly, the X-H2S now has five-axis in-body image stabilisation giving up to seven stops of correction for camera shake. In addition to being able to operate at 40fps, the X-H2S’s autofocusing is a new predictive algorithm to improve tracking reliability with fast-moving subjects and there’s now AI-based object recognition for a range of subjects – animals (dogs, cats and horses), birds, cars, motorcycles, bicycles, aircraft and trains. Tracking for humans can be set to face or eyes with the smarts to recognise if the subject is wearing glasses or a mask. Like its predecessor, the X-H2S is also targeted at video-makers and its capabilities

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Supertelephoto in hot conditions. There are a total of 19 different speeds depending on how far it’s Zoom And sealing points to prevent the intrusion of rotated. Then there is a tele/wide toggle Power Zoom Join dust or moisture, and the zoom is also switch and, finally, a touchscreen control Fujifilm X Mount insulated to enable shooting in subzero that's currently only available on the X-H2S, temperatures. but will be available on selected other models Launched alongside the X-H2S are two via a firmware upgrade. very interesting new additions to Fujifilm’s The optical construction employs 24 X-mount lens system. The first is a supertele- elements in 17 groups, which includes The external construction is fully sealed photo zoom with a focal range of 150-600mm, three extra-low (ED) dispersion types and and insulated while, on the inside, the optical which is equivalent to 229-914mm. four with Super ED characteristics. These construction comprises 15 elements in 12 If that’s not long enough for you, are specifically designed to minimise the groups that includes three aspherical types the zoom is compatible with axial chromatic aberration that can often and three ED types to collectively correct for the 1.4x and 2.0x teleconverters be an issue with long telephoto lenses. spherical aberration, distortion and chromatic in the system, the latter giving The 150-600mm has Fujifilm’s HT-EBC aberrations. Fujifilm says the optical design 300-1200mm (equivalent to multi-coating (which is more commonly also minimises focus breathing and optical 457-1828mm). The new Fujinon used on its broadcast TV zoom) to axis shifts while zooming. Both zooming XF150-600mm f/5.6-8.0 R LM minimise reflectance and optimise and focusing are performed internally, the OIS WR weighs in at 1,605g – latter via a fast and quiet linear motor. which is quite modest for a transmittance. The minimum focusing distance is 60cm, lens of this focal range – and Focusing is giving a maximum reproduction ratio of 1:5. employs an inner zooming performed The aperture control allows for finer auto mechanism to minimise any internally via a adjustments to minimise noticeable weight shifts. linear-type exposure shifts when the light changes motor to when capturing video. The external construction employs ensure fast magnesium alloy barrel tubes to help keep and quiet Fujifilm has also added three new XF the weight down and has a matte silver finish operation. prime lenses to its X-mount roadmap – an to minimise heat build-ups when shooting The minimum 8mm f/3.5 ultra-wide (equivalent to 12mm focusing and due in 2023), a 30mm f/2.8 Macro distance is 2.4 (equivalent to 45mm and scheduled for later metres. The this year) and an updated version of the 56mm f/1.2 (equivalent to 84mm and also lens has both focus preset and focus limiter coming this year). functions. The optical image stabilisation gives up to five stops of correction for camera The Fujinon XF150-600mm f/5.6-8.0 R LM shake at 600mm. OIS WR is available locally from July and is priced at $3,549. The Fujinon XF18-120mm The second addition to the X-mount f/4.0 LM PZ WR is due in September priced at system is the Fujinon XF18-120mm f/4.0 $1,599. Fujifilm Australia provides a three-year LM PZ WR, a power zoom equivalent to warranty for X-mount lenses purchased from 27-183mm. There are four methods of an authorised reseller. zooming the lens, starting with a conventional control ring that's electronic rather than For more information visit mechanical. There is a second, rocker-type www.fujifilm.com.au. control ring that zooms (and focuses) at

NEWS 09 INDUSTRY, PEOPLE & EVENTS Due to issues related to the COVID-19 pandemic, it’s advisable to check directly with exhibition and event organisers regarding possible cancellations, postponements or changes to normal opening hours. Many galleries, exhibition spaces and museums now require bookings in order to manage visitor numbers. Current to 22 August: Exhibition: Requiem Historic photographs commissioned by the Edward Terrace, Parkes, Canberra, ACT 2600. To New York: Photographs By Ashley Gilbert- Sydney Municipal Council which document Gallery hours are 10am to 5pm daily. For more son. Melbourne-born photojournalist Ashley Sydney’s profound transformation during information telephone (02) 6102 7000 or visit Gilbertson – resident in New York for over 20 the first two decades of the 20th century. At www.portrait.gov.au. years – documents the effects the COVID-19 the Customs House Library, 31 Alfred Street, pandemic had on the city and its communities. Sydney, NSW 2000. Entry is free. Exhibition November: (actual dates to be confirmed). At the Ian Potter Centre (Level 2), Federation hours are 10am to 6pm on weekdays, 11am to The 13th Head On Photo Festival. Exhibitions, Square, Melbourne, Victoria 3000. Entry is free. 4pm on weekends. For more information visit workshops, seminars and artist talks at Gallery hours are 10am to 5pm daily. For more https://whatson.cityofsydney.nsw.gov.au. numerous venues across and around Sydney. information visit www.ngv.vic.gov.au. For more information visit www.headon. Current to 9 October: Exhibition. National com.au. Current to 2 October: Exhibition: Develop- Photographic Portrait Prize 2022. Winners and ing Sydney: Capturing Change 1900 To 1920. finalists. At the National Portrait Gallery, King Sony Updates GM control is adjustable for torque, which can rounded and smooth out-of-focus effects. 24-70mm f/2.8 be set to either Tight or Smooth. The manual The new Sony FE 24-70mm f/2.8 G Standard Zoom focusing collar is linear in its adjustment, allowing for finer control, and there are two Master II is available in Australia now, The Mark II version of Sony’s GM series customisable focus hold buttons. priced at $3,299. 24-70mm f/2.8 is a similar upgrade to the 70- 200mm f/2.8 GM, further leveraging the size On the inside, the FE 24-70mm f/2.8 GM For more information visit and optical performance benefits available II has an all-new optical construction that www.sony.com. with the mirrorless camera configuration. uses 20 elements in 15 groups and includes There have also been a number of ergonomic a total of nine special types. Five of these are refinements based on, says Sony, feedback aspherical elements – two being the high- from professional photographers. precision XA or eXtreme Aspherical types – and four have extra-low dispersion (ED) At 695g, the new lens is a significant characteristics. Two of the latter are of the 20% lighter than the previous model and stronger Super ED variety. In combination with approximately 18% less bulky with the overall a ‘floating’ focus arrangement, the optical length reduced by 16mm. In fact, it’s claimed design is said to effectively control chromatic to be the smallest and lightest 24-70mm aberrations, astigmatism, distortion and coma. f/2.8 zoom for a full-frame mirrorless camera Sony’s latest Nano AR Coating II is applied system. The construction has been designed to minimise reflections, and so suppress so the zoom’s centre of gravity is now further ghosting and flare. back towards the lens mount to improve the handling balance. Sony says the weather Autofocusing is via a quartet of Sony’s protection measures have been increased XD (eXtreme Dynamic) linear motors to give and now includes a rubber gasket around fast and near-silent operation, and provide the lens mount and a fluorine coating on the support for 30fps shooting with continuous exposed surface of the front element to help AF adjustment (and 4K video at 120fps). The repel moisture. new lens’ AF tracking performance is said to be twice as better than that of the previous The new zoom has a manual aperture model. Additionally, focus breathing, focus collar that's switchable between click-stopped shift and axial shift when zooming are all (in one-third stop increments) and seamless improved. The minimum focusing distance is operation, and has an iris lock. The zoom 21cm at 24mm and 30cm at 70mm, giving a useful maximum magnification ratio of 1:3.1. There’s an 11-blade diaphragm for fully-

Canon Launches the R7’s with an effective resolution of 32.5MP animals and birds (body, face or eyes) and Cropped Sensor and the R10’s with 24.2MP. The sensitivity vehicles (whole or selected parts), with the Mirrorless System range is equivalent to ISO 100 up to 32,000 control algorithms the same as those used Based On RF Mount with an extension to 51,200. in the flagship EOS R3. Low-light sensitivity extends down to EV -5.0 with the R7 and Canon reckons its full-frame mirrorless The R7 has in-body image stabilisation -4.0 EV with the R10 (both at ISO 100 and camera system is already converting users capable of delivering up to eight stops f/1.2). The R7 has a brand new control that of its higher-end DSLRs, so now it’s turning of correction for camera shake with essentially combines the old Quick Control its attention to the APS-C cropped sensor ILC Co-ordinated Control IS, which joins forces Dial – a standard on Canon’s DSLRs – and the market where it has long dominated in DSLRs. with the optical image stabilisation in the two AF Multi-Controller, and is designed for the RF-S zooms (but you get seven stops with faster selection of the focus points using the Canon’s new mirrorless system is based just the OIS). The IBIS system also delivers grip hand’s thumb, along with various other on the RF mount which, as an aside, probably automatic horizon levelling – the sensor function setting duties. means sayonara to the largely unloved actually rotates so this doesn’t involve any EF-M lineup... although the company isn’t cropping – and corrects for vertical shake In terms of video capabilities, both the R7 saying as much right now. Nevertheless, when using the R7’s in-camera panorama and R10 can record 4K UHD at up to 60fps it is acknowledging the importance of the stitching. Both bodies match their sensors or 4K at 30fps downsampled from 7K and 6K cropped sensor sector and the need to inject with Canon’s latest-generation DiG!C X respectively for enhanced image quality. This its mirrorless offerings with more innovation processor, enabling up to 30fps continuous is recorded with 10-bit 4:2:2 colour (YCbCr) and excitement. It will be well aware of what’s shooting for the R7 and 23fps for the R10, both internally and externally via HDMI on offer from both Sony and Fujifilm as its both with frame-by-frame AF/AE adjustment (both cameras have the full-size connector). EOS APS-C DSLR users start to think about and with either RAW or JPEG capture. A Additionally, the EOS R7 has a 4K/60p crop potential replacements. half-a- mode primarily to give an effective increase in second the lens focal length for applications such as To kick things off there are two camera pre- wildlife or sports. Full HD recording is possible bodies and two dedicated zoom lenses shooting at up to 100/120p for slow-mo effects. The designated RF-S. The bodies are the higher- facility is R7 also has Canon Log 3 and Cinema Gamut end EOS R7 – which is very close to being the available recording. Canon says 4K clip lengths – at APS-C version of the EOS R6 – and the lower- with the 30fps – can be up to one hour without any end EOS R10 that looks like being the obvious former. This top speed comes into play overheating issues for the R7 and 50 minutes replacement for the EOS 850D and its earlier when using the electronic shutter, but both for the R10. iterations. As the model designation suggests, cameras can shoot at up to 15fps with their the EOS R7 is being aimed at EOS 7D/7D II mechanical shutters. The capture file options The two models share the same OLED- users and is classified by Canon as being an include 10-bit HEIF (High Efficiency Image File) type EVF with 2.36 million dots resolution enthusiast-level camera. for HDR, Dual Pixel RAW (with post-capture and a refresh rate of 120fps. It’s adjustable processing for various adjustments) and the for both brightness and colour balance. Both Both camera bodies benefit from size cRAW alternative that uses lossy compression reductions versus the comparable DSLRs rather than the standard mode’s lossless cameras have a fully- and the EOS R10 is similar in size to the EOS compression. RAW files are captured with articulated touchscreen M6 II. Only the R7 has weather sealing, while 14-bit RGB colour. The R7 has dual memory monitor, but the R7’s only the R10 has a built-in flash. The new card slots, both supporting SD UHS-II devices, has a resolution 1.62 lenses are the RF-S 18-45mm f/4.5-6.3 IS STM while the R10 has a single SD slot, but again million dots, while the (equivalent to 29-72mm at 1.6x) and the RF-S with UHS-II speed support. R10’s is 1.04 million 18-150mm f/3.5-6.3 IS STM (equivalent to dots. Other shared 29-240mm). Both cameras have Canon’s latest Dual features include Pixel CMOS AF with 100% frame coverage Wi-Fi and Bluetooth Both cameras have all-new, but and the availability of 651 selectable focusing wireless connectivity, conventionally-designed APS-C format CMOS zones. The AI-based subject tracking modes focus bracketing, sensors (so no BSI or stacked arrangements), are for people (body, head, face or eyes), time-lapse movies, in-camera battery charging via USB-C and a set of Creative Filters special effects. Australian availability of the EOS R7 is from the end of June with a price of $2,349 for the body or $2,899 when packaged with the RF-S 18-150mm f/3.5-6.3 IS STM zoom. The EOS R10 will land locally in the middle of July with a body-only price of $1,499, while it will set you back $1,649 with the RF-S 18-45mm f/4.5-6.3 IS STM and $2,049 with the RF-S 18-150mm f/3.5-6.3 IS STM. For more information visit www.canon.com.au.

COM.AU OXFORD STREET LEEDERVILLE

12 NEWS IMAGING PRODUCTS & PROCESSES Mounting Up: Right: Canon RF-S 18-150mm f/3.5-6.3 Where Does RF-S IS STM (equivalent to 29-240mm). Sit In Canon’s Lens Ecosystem? Below: Canon RF-S 18-45mm f/4.5-6.3 IS STM (equivalent to 29-72mm). With the arrival of the RF-S series lenses The new RF-S 18-45mm f/4.5-6.3 IS STM measures 84.5mm in length and weighs a very for the new APS-C cropped format EOS R – which is equivalent to 29-72mm – makes manageable 310g. The optical construction mirrorless range, Canon now has five lens the most of the size reductions possible comprises 17 elements in 13 groups, again systems on the go – EF, EF-S, EF-M, RF and with the mirrorless camera configuration, with internal focusing via an STM. It also RF-S. As with EF and EF-S, RF and RF-S share so it’s just 44.3mm in length and weighs in incorporates optical image stabilisation for up the same lens mount but, differently to the at 130g. The optical construction comprises to seven stops of correction for camera shake. DSLRs, you’re able to fit RF-S lenses to the full- seven elements in seven groups with internal frame EOS R bodies that will, of course, switch focusing and optical image stabilisation. Available as separate purchases, the RF-S to the cropped format… so the effective focal Autofocusing is via a stepping motor (STM) for 18-45mm f/4.5-6.3 IS STM is priced at $569 ranges will be the same. And, also as with the smoother adjustment when shooting video. and the RF-S 18-150mm f/3.5-6.3 IS STM at full-frame mirrorless bodies, you can fit EF and $899. Both will be available in July and are EF-S lenses via the three mount adapters that The RF-S 18-150mm f/3.5-6.3 IS STM is backed by a five-year warranty if purchased Canon currently has available – the EF-EOS R, equivalent to 29-240mm, which makes it from an authorised Canon Australia reseller. the EF-EOS R Control Ring adapter or the cir- handy for a range of applications, especially cular polariser alternative. If you’re planning to as a versatile lens for travel photography. It For more information visit switch from your APS-C format EOS DSLR then www.canon.com.au. it’s nice to know that you can keep using your EF-S lenses until there are RF-S alternatives or you have the budget to change over. The new EOS R10 is also being targeted at users of the EF-M cameras such as the M50/50 II and M6/6 II, so what happens with your EF-M lenses if you decide to switch to the EOS R system? Things aren’t so straightforward here as there isn’t a direct EF-M to R adapter (some tricky technicalities prevent it). So you’d have to go EF-M to EF to R, which a bit clumsy and we’re not sure what functions would be retained via the double- adapter arrangement. Canon Launches cartridges, many of which end up in a landfill. Canon says one set of ink bottles will MegaTank Printer Canon’s new PIXMA MegaTank G660 is allow you to print up to 3,800 borderless For Photos specially designed for photo printing and uses 4x6-inch (i.e. postcard size) photo prints, a six-colour ChromaLife 100 dye-based ink set which works out at just 4.7 cents each. The Interest is growing in printers with (cyan, magenta, yellow and black, plus G660 can output a 4x6-inch print in just 47 refillable ink tanks rather than disposable red and grey for a wider colour gamut and seconds, and there's a 100-sheet rear feeder better contrast). tray for uninterrupted volume printing. It can print up to A4 size and borderless. The new GI-63 series MegaTank ink bottles have foolproof, key-type nozzles unique to each colour in the series, so you can't make a mistake when filling each reservoir. Other features of the G660 include Wi-Fi connectivity, a two-line LCD display for managing printer settings, and an auto power-off facility. The Canon PIXMA MegaTank G660 is priced at $559 and is available now. For more information visit www.canon.com.au.

MADE IN EXPRESSION Superb Resolution & Gorgeous Bokeh AF 135MM F1.8 FE Full - Frame Sony FE Mount

Panasonic Adds To match the capabilities of the Lumix contributes to the lens’ compact dimensions. Leica Ultra-Wide camera bodies, the new 9mm f/1.7 has a Panasonic says the lens’ focusing To M43 System weather-sealed construction and is also insulated to allow for operation is subzero mechanism supports the DFD (Depth From There’s more good news for users of Micro temperatures down to -10º Celsius. An ultra- Defocus) sampling at 240fps and has been Four Thirds system cameras as Panasonic compact design, the new lens is just 55mm designed to minimise focus breathing. The launches the Leica DG Summilux 9mm f/1.7 in length and weighs a mere 130g. The manual focusing ring has either linear or (model H-X-09). It has an effective length of screwthread filter fitting is 55mm. non-linear adjustment of focus. With non- 18mm combined with the fast maximum linear adjustment, the amount of focus shift is aperture of f/1.7 and with a very short On the inside, the optical construction governed by the rotation speed of the focus minimum focusing distance of just 9.5cm. This uses 12 elements in nine groups that includes collar… in other words, if you turn it quickly, gives an effective maximum magnification of two aspherical types, two with extra-low you’ll make big adjustments, but turning it 1:2, which is half life size, and should allow dispersion characteristics and one ultra- slowly allows for more precise control due to you to do some pretty interesting things with high refractive index (UHR) type. Collectively, smaller degrees of adjustment. With the linear close-ups. these correct for both lateral and longitudinal setting, the focus is shifted at a constant chromatic aberrations, and astigmatism. speed according to the rotational angle of the The UHR element enhances the uniformity focus ring. In this mode, the sensitivity (i.e. the of centre-to-corner sharpness and also amount of focus shift per the rotational angle of the focusing collar) can be adjusted from 90º to 360º in 30º increments. The seven-blade diaphragm allows for seamless exposure adjustment when shooting video. The Leica DG Summilux 9mm f/1.7 will be available in Australia from July priced at $849. For more information visit www.panasonic.com.au. BRIEF EXPOSURES The 2022 Epson International Pano Awards is open for entries with great Epson product prizes on offer, including the SureColor P7070 24-inch printer and the SureColor P5070 17-inch printer, plus the EB-1795F ultra-slim projector. The total prize pool is valued at US$40,000. The early-bird entry is open until Monday, June 27, and offers a 20% discount on the entry fee for a submission of five images. The competition closes for entries on Monday, July 11. To enter, or for more details, go to https://thepanoawards.com/ enter-2022-awards.  © Joshua Hermann, 2021 Epson International Pano Awards Open Photographer Of the Year

A SECOND LOOK Leica Pre-Owned FOR THE FIRST TIME Leica is synonymous with quality, masterful equipment that lasts and shapes the world we live in. Leica Pre-Owned products represent the sustainable way to enter the fascinating realm of Leica photography — one that includes Leica cameras, lenses and accessories that not only span decades but come with a legacy of passion. /HLFD3UH2ZQHGDOVRRɆHUV\\RXWKHFKDQFHWRVHOO\\RXUH[LVWLQJ /HLFD2XUVWDɆZLOOEHKDSS\\WRFDOFXODWHLWVPDUNHWYDOXHZKHQ you trade it in, and apply a credit to your new Leica equipment if desired. That’s enjoyment across generations. Find more inspiration at leica-store.com.au/preowned Visit your nearest Leica Store Models pictured are subject to availability. SYDNEY | MELBOURNE | CHADSTONE leica-store.com.au

From left to right: Sony E PZ 10-20mm f/4.0 G., Sony E 15mm f/1.4 G., Sony E 11mm f/1.8. Wide-Angle Trio low dispersion (ED) types, three aspherical the magnification and angle-of-view remains Bring Sony E-Mount types, and one that combines both aspherical the same across the focusing range. The Lens System To surfaces and ED characteristics. Both zooming minimum focusing distance is 17cm with 70 Models and focusing are performed internally – so manual focusing and 20cm with AF. The new there’s no change in the lens’ length – and 15mm prime is also weather-sealed and has a With the launch of three new wide-angle the minimum focusing distance is 13cm at customisable focus hold button. lenses for the APS-C format E mount, Sony 10mm and 17cm at 20mm (with manual has raced up to 70 E/FE models, which is very focusing). AF operation is via a pair of linear The new E 11mm f/1.8 has an effective good going since the first lens was released motors to optimise speed and to support focal length of 16.5mm and its optical design back in October 2013. very fast frame rates. The zoom’s external employs 12 elements in 11 groups. The construction is weather sealed, and it has a special elements comprise three ED types and The new lenses comprise a power zoom customisable focus hold button. three aspherical types to optimise sharpness and two primes. The E PZ 10-20mm f/4.0 G across the frame and correct for distortion. is equivalent to 15-30mm and is claimed to The new E 15mm f/1.4 G combines an Autofocusing is, again, performed internally be the world’s smallest and lightest “ultra effective focal length of 22.5mm with a very via a pair of linear-type motors with minimal wide-angle constant f/4.0 APS-C power zoom fast maximum aperture. It’s another very focus breathing. This lens also has a weather- lens”… that’s a pretty tightly defined category, compact design, being just under 70mm sealed construction and features a focus but nevertheless this is a very compact in length and weighing 219g. The optical hold button. lens indeed and it weighs a mere 178g. construction includes three aspherical Zooming can be performed via an electronic elements, one with ED characteristics and All three of the new Sony E mount wide- zoom collar that allows for variable speed one Super ED type. Focusing is performed angle lenses are available in Australia now. adjustment, or a tele/wide toggle switch. internally via a pair of linear type motors, Both the E PZ 10-20mm f/4.0 G and the with manual focusing via Sony’s Linear E 15mm f/1.4 G are priced at $1,199, and the The optical construction comprises 11 Response MF for more precise control. E 11mm f/1.8 at $849. elements in eight groups, including two extra- Sony says the focusing group design greatly reduces focusing breathing and to ensure For more information visit www.sony.com.au. BRIEF EXPOSURES BRIEF EXPOSURES Now covered by a three-year warranty: Leica and Panasonic have announced a new collaboration Fujifilm Australia is now FUJIFILM GFX 50S agreement that will see the two companies cooperate providing a three-year warranty more closely in the development of new cameras, lenses (which came into effect from and imaging software. These products will be jointly 1 May 2022), covering the developed under the L² Technology banner – the name GFX medium format camera derived from Leica and Lumix – which will also be used system, the X series cameras for marketing purposes. Leica and Panasonic have been and the GF, XF and XC mount partnering at various levels since 2000, but the new lenses. This applies to these agreement involves a much closer relationship, utilising products purchased either and unifying each company’s core strengths, and suggests directly from Fujifilm Australia that they will share future new products such as camera or an authorised Fujifilm bodies and lenses. Australia retailer.



18 NEWS INDUSTRY, PEOPLE & EVENTS ProPhoto when it was called Professional Photography Photographic Industrial Sales – Zelox 50 Years In Australia. This is a snapshot of the July- studio flash and darkroom products. / C.R. Ago August 1972 issue. Kennedy – Pentax Super-Multi-Coated Takumar lenses / C.R. Kennedy – Kowa 6 There’s nothing Cover photograph: David Franklin; Sydney, 6x6cm SLR and lenses / Wagners Industrial like a dip into the London and New York Division – Courtenay studio flash equipment archives to reveal / Townsend Colortech – professional ser- just how much things Test Reports: Pentax ES 35mm SLR People vices using the Kodak VCNA printing system / have changed in the And Places / David Franklin, advertising and Maxwell Photo-Optics – Nikon F2 pro-level professional fashion photographer. 35mm SLR / H. Levinson – Sigma 18mm photography industry, f/3.5 ultra-wide prime lens / Hanimex – especially over the The Issues: The potential value of the copy Durst colour heads / Hanimex – Durst A600 last couple of decades. In the early 1970s, photography business / What is photographic and DA900 multi-format enlargers / Kodak medium and large format cameras were quality? / How effectively does the IAP deal (Australasia) – Ektachrome, Ektacolor and considered the only choice for professionals, with complaints against its members (destined Kodachrome materials / William Charlick especially for studio work. And black-and- to be an on-going issue for decades to come). Limited – Bronica S2A 6x6cm SLR and lenses white film was still in extensive use for many / R.H. Wagners & Sons – Balcar, Manfrotto, applications. Although colour was no longer The Advertisers: Union Carbide Australia Wagsons and Hirsch products / R.H. thought of as the work of the devil, many pros – Eveready rechargeable batteries / Wild Wagners & Sons – Rodenstock large format ran their own darkrooms for processing and (Australia) Pty Ltd – Leica M5, Lecina Super lenses / R. Gunz (Photographic) – Schneider printing B&W. Here’s a selection of what was RT1 Super 8 movie camera and Pradovit TA Kreuznach Super Angulon large format lenses on the pages of this magazine 50 years ago 35mm slide projector / Bond Colour – colour / Ilford – Ilford FP4 and HP4 35mm B&W film and B&W film processing services / GCS ‘Professional Packs’. TIPA Announces World Award Winners For 2022 The Technical Image Press Association international group of photography magazines – of which sister publication Australian Camera is a member – has revealed all the winners in the 40 categories of its annual TIPA World Awards. Not surprisingly, both Canon and Sony were the big winners this year with five awards each, reflecting how active both have been over the last 12 months. Nikon collected three awards, including Best Full-Frame Professional Camera for the Z 9. Here’s the full list of the 2022 winners. For more information visit www.tipa.com. • Best MFT Camera: OM System OM-1 • Best Full Frame Ultra Telephoto Zoom Lens: Tamron 150- • Best APS-C Camera: Nikon Z fc 500mm f/5.6-6.7 Di III VC VXD (Model A057S) • Best Full Frame Expert Camera: Sony Į7 IV • Best Full Frame Professional Camera: Nikon Z 9 • Best Macro Lens: Canon RF 100mm f/2.8 Macro IS USM • Best Camera Innovation: Canon EOS R3 • Best Travel Zoom Lens: Tamron 35-150mm f/2.0-2.8 Di III VXD • Best Rangefinder Camera: Leica M11 • Best Professional 4K Hybrid Camera: Panasonic Lumix DC-GH6 (Model A058S) • Best Professional 8K Hybrid Camera: Canon EOS R5 C • Best Photo Paper: Hahnemühle Canvas Metallic • Best Professional Video Camera: Panasonic Lumix DC-BS1H • Best Photo Printer: Canon PIXMA MegaTank G650 • Best Medium Format Camera: Fujifilm GFX 50S II • Best Imaging Software Professional: Capture One 22 • Best Vlogger Camera: Sony ZV-E10 • Best Imaging Software Expert: DXO Photolab 5 • Best Manual Focus Lens: Laowa/Venus Optics Argus FF 35mm • Best Imaging Software Enthusiast: Skylum Luminar Neo • Best LED Light: Aputure LS 1200d f/0.95 • Best Flash: Godox Macro Flash MF12 • Best APS-C Prime Lens: Tokina ATX-m 56mm f/1.4 • Best Tripod: Benro/Induro Hydra 2 Waterproof Carbonfibre • Best APS-C Zoom Lens: Sigma 18-50mm f/2.8 DC DN • Best Enthusiast Photo Monitor: LG 32-inch UltraFine Nano IPS Contemporary Black (Model 32UQ85R) • Best Full Frame Prime Wide-Angle Lens: Sigma I series 20mm • Best Professional Photo Monitor: LG 27-inch UltraFine OLED Pro f/2.0 DG DN Contemporary (Model 27EQ850) • Best Full Frame Prime Standard Lens: Voigtländer Nokton 50mm • Best Video Monitor: ViewSonic 38-inch VP3881a ColorPro 21:9 f/1.0 Aspherical VM WQHD+IPS • Best Full Frame Prime Telephoto Lens: Nikon Nikkor Z 400mm • Best Photo Smartphone Professional: Sony Xperia Pro-1 • Best Photo Smartphone Expert: Samsung Galaxy S22 Ultra f/2.8 TC VR S • Best Photo Smartphone Advanced: OnePlus 10 Pro • Best Full Frame Wide-Angle Zoom Lens: Canon RF 14-35mm • Best Image Storage Media: ProGrade Digital CFexpress Type B f4.0L IS USM 1700 Cobalt • Best Full Frame Standard Zoom Lens: Sony FE 24-70mm f/2.8 • Best Photo Service Product: CEWE Photobook Personalised GM II Slipcase • Best Full Frame Telephoto Zoom Lens: Sony FE 70-200mm f/2.8 • Best Retail Photo Service: Kodak Moments LittlePix GM OSS II



SPECIAL FEATURE PROFESSIONAL PHOTOGRAPHY Paul Kelly, 1996, musician. Photo by Wendy McDougall. WHAT IS THE FUTURE OF PROFESSIONAL PHOTOGRAPHY IN AUSTRALIA? The profession of photography continues to undergo seismic changes and, in this country at least, it now seems more fragmented than ever. We asked a number of working photographers from a variety of fields and with varied experiences to give us their opinions about how we have got to this point and what they think the future holds. Introduction by Paul Burrows It’s fair to say the last two decades have capabilities, but charge much lower prices. Over that’s somehow a bad thing. been pretty tough on professional time the market has moved more towards More recently, the last couple of years photographers. The transition from film a quantity model than a quality model. In many to digital brought widespread changes to ways, photographs are now a fleeting have been particularly tough on many areas every aspect of the practice and, over time, commodity – quickly taken, shared via social media of professional photography as the Covid-19 a significant contraction and devaluing of and then forgotten – rather than a thing of lasting lockdowns and restrictions prevented public the market. It’s also fair to say that the profession value. The matted and framed print – for a long time gatherings such as weddings, corporate events, has struggled to keep up with a lot of this. The new the final product in many fields of photography fashion shows, exhibitions, conferences and social technologies have allowed many more part-time and an enduring manifestation of the professional’s occasions of all types. At the end of last year, operators to compete in terms of their abilities and skills and creativity – is now labelled “traditional” as if the Australian Institute Of Photography ceased operating, leaving the country without any sort of 20

SPECIAL FEATURE PROFESSIONAL PHOTOGRAPHY industry body to oversee professional standards, rules and to overturn onerous restrictions on for its members and can lobby effectively on their provide a support network and community, photography in certain locations. A fragmented behalf when the need arises. From here, it will likely lobby on behalf of working photographers, and group of individuals would now find it much be a lot easier to work on a more unified profession offer on-going education through seminars and harder to deal with politicians, legislators and which, collectively, is dedicated to delivering quality workshops. Over its 70-year history, the AIPP had law makers, even if strength in numbers can be and profitability for all. absorbed all the other mainstream professional delivered through social media. A much more photography groups, including (in 2015) the cohesive and cooperative approach will be We asked a number of people who have been ACMP, which had been originally established to needed to tackle any issues that might arise for involved in various areas of photographic practice better represent the interests of photographers professional photographers in the future as the – including education – to give us their thoughts working in advertising, editorial and commercial result of decisions made by government bodies, on some of the key issues facing the profession areas. Covid’s economic hit on professional corporations or other entities. of photography right now. All these contributors photographers – especially in the wedding and have had successful careers in their chosen fields, portrait sectors – undoubtedly contributed to To me – and to others – this would seem to some of them still ongoing. I thank them for taking the AIPP’s demise as its membership declined, be the most pressing issue right now, but it’s the time to provide well-considered thoughts to a but so did the entry into the market of people going to need an industry-wide effort to create a vitally important discussion. who didn’t feel they needed to be part of a representative organisation that delivers real value profession… in particular, the part-timers. Increasingly too, professional photography has Let’s introduce them… Wales and the Monash Gallery of Art. She was, become much more of a solo practice with for many years, the face of the Stills Gallery in big, multi-photographer studios also mostly PENNY BOYER Sydney which ran from 1991 to 2017. consigned to history. This is, again, the outcome of how clients now use photography – assuming Professional photographer and retired JESSE LISOTTE they hire a professional at all – and how much photographic educator at the Canberra Institute they’re prepared to pay for it. Of Technology where, lastly, she was Head Of Although still in his early 30s, Jesse is already Department for Design Industries. She’s currently a very successful Australian-born fashion and Of course, it could be said that all industries based in Helsinki, Finland. fine-art photographer. He was based in New have to evolve and adapt to new technologies, www.pennyboyer.com York (where he grew up) until the Covid-19 and that history is littered with those trades and pandemic. Clients include Vogue Australia, GQ skills that were made redundant by machinery, WENDY MCDOUGALL Australia, InStyle Australia and 10 Magazine. either mechanical or electronic. It’s a valid point, www.jesselizotte.com but what makes photography a little different is Sydney-based freelance photographer, that the medium itself is actually thriving thanks specialising in the music industry and editorial BRUCE USHER to the digital technologies – with many, many assignments. She’s the author of It’s only more pictures being taken than ever before – but rock’n’roll but I like it... wendymcdougall.com.au Freelance advertising, editorial and corporate the role of the professional has been diminished photographer and writer. He recently published in the modern era, and that’s a real concern. SANDY EDWARDS a collection of his photography titled Coast Professionals are the foundation of any industry Tree Street. Bruce is a regular contributor to and, in the case of photography, they set standards Documentary photographer and highly this magazine and sister publication Australian for creativity, skills, conduct and service. In the ideal respected photographic curator. Sandy’s work Camera, and also White Horses surfing magazine. world, they would also be mentors, educators and is represented in collections at the National bruceusher.com.au commentators plus, importantly, the promotors of Gallery of Australia, the Art Gallery of New South professional photography and its value to clients both big and small. There are a few high-profile In your opinion how has professional photography It’s the constant fighting for your position that is individuals who have done this tirelessly in recent changed since you became involved? What completely tiring. times, but overall it’s a big industry-based failure. have been the positive changes and what’s been As the technical mystique faded and the emphasis negative? Sandy Edwards: The change from analogue has switched to imagination, ideas and inspiration, to digital was a “deep learning curve”, as Moshe we have failed to provide compelling answers to Wendy McDougall: Photography in technical Rosenveig [founder of the Head On Photo Festival] the questions asked by today’s marketplace, “What terms is, of course, ever evolving. I was not a fan once said to me. does a professional photographer do and why do I even when they made the grain in film finer and need one?” finer. I liked things to stay the same for a while to Jesse Lizotte: I think the biggest change since get to know them well, and I loved grainy results I became involved in the industry has been It isn’t all gloom and doom, of course, and there when they suited. Then digital hit us from left field. Instagram. It’s a great tool for promotion and a are many positives in terms of what a motivated With each change though, the outline of what a way to connect with a wider audience, breaking individual can achieve today through the current professional photographer is changed too. down geographical barriers. But at the same time, technologies, the education options available The ease of communication with your colleagues I feel it has contributed to the death of print and online (similarly the like-minded communities) was the most positive aspect about the industry. magazines as a medium for imagery. and the methods by which images can be easily You bumped into each other at the suppliers, and globally displayed, shared and critiqued. the labs and studios. The negative would be Penny Boyer: Professional photography has But the dictionary definition of a profession is, when digital took over and, to this day, I feel we changed; the most positive change is the firstly, “an occupation requiring special training” professionals are fighting to maintain our position immediacy of the image and the capability to and, secondly, “the body of people in such an as such because of the sheer number of new change the image. The negatives have been occupation”. This implies unity in both purpose kids on the block. When the ‘black veil’ of doubt devaluing the professional because everyone can and objectives, underpinned by a spirit of lifts on those feelings of hopelessness, you can’t now access and change the image. I constantly cooperation and comradery. It needed a concerted help but be grateful for some new skills though. hear, “Why do I need a professional photographer, collective effort to change the lopsided copyright 21

SPECIAL FEATURE PROFESSIONAL PHOTOGRAPHY as I can do it myself and don’t need to pay harder to handle, wondering about your place in BU: During 2019 – the year leading up to the exorbitant fees?”. the world when you couldn’t do what you normally pandemic – I was doing the initial pre-production do. Being considered non-essential… that was a for my book, Coast Tree Street. In early 2020, I started Bruce Usher: The main ‘big picture’ positive tough label to wear. working with the book’s designer, Kerry Klinner. We change was digital imaging in 2005. But that was However, I do believe there is always good in the had just one in-person meeting and then either minor compared to a decade later when the print/ bad though. On that score, a personal exhibition spoke on the phone or emailed each other. The editorial world was slowly slipping away. The project that had just been shot prior to the first book arrived in Sydney in the first week of March financial crisis of 2007–2008 definitely didn’t help lockdown, and was planned for the following 2021, so distribution was really challenging during and a lot of commercial assignments shrank as a February, needed to drastically change shape if the lockdowns in that year. result. But another positive for me has been the it was to go ahead at all. My love for prints was availability of social media, which has been a great directed to digital – somehow. Digital imaging has allowed everybody to think that tool for marketing and selling my book. SE: I was lucky to have a project to work on they are photographers… and smartphones are right through lockdown. Mayu Kanamori’s everywhere. How do you educate the general public How have you and your business evolved over brilliant Untitled.Showa which was about ‘found about the differences that using a professional will this time? Were changes forced upon you or made photography’. The benefit was to learn about the make, and how it’s worth the investment? voluntarily? In either case, can you outline the value of the Zoom meeting, and the possibility of imperatives for making changes? virtual exhibitions. The first exhibition was actually WM: I’m still trying to work this out because some of these new smartphones actually look pretty WM: I’m a fairly old-fashioned person in a lot of “The pink one-piece”, Coalcliff Beach, NSW, 1991. smart! ways and seem to operate at a particular pace that Photo by Bruce Usher. I spend a lot of time learning the digital ways only doesn’t always mean I’m up-to-date. My learning for them to change again. So, though I know I am a skills mean I need to take time. So digital and all at Central Park in Ultimo and then we took the professional photographer, some days I don’t always its forced changes has been challenging at times. exhibition to Geelong Library and Heritage Centre feel qualified in certain ways to provide results as My business has stayed as a one-person operation (the photos were found in Geelong), then in Kyoto, the modern client wants. I guess we just need to all the way through and just bubbles along. The Japan and finally in Adelaide for the Oz Asia Festival. show our results as much as possible to convince thing that keeps me going is the fact that I still love JL: My approaches to my business and my work people of our consistency and knowledge. photography and I’m still doing what I love. have not really changed, although I think I’ve had It’s also in the detail where we shine, how we talk The bottom line of what makes a great photo to get more creative when producing images. With to clients and show that we understand a photo is, to me, more about ideas, composition, and restrictions in place, the industry had to adapt – for brief, provide useful suggestions that the phone approaches than knowing the current camera instance, the use of Zoom on a set to communicate snappers have no idea about. I honestly believe modes – they will change tomorrow anyway. So with clients and collaborators locally, or in different that good service has been thrown out too. We can far, light still has to pass through a hole and hit a parts of the world, has become commonplace now. make a client feel supported in ways others can’t. sensitive material. PB: A sense of loss and frustration existed with me. I created photo books for my own pleasure. I was SE: The point is that photography has always SE: I try to embrace the new and my journey has lucky to have financial support. been multifarious. You gain agency and strength been from being a photographer as my profession by working out the different levels and outlets of to being involved in the art world. I have morphed photography in our world. There is no one way that from photographer to curator to mentor and is ‘right’; it is what you decide you want to do… e.g. exhibition producer. be a commercial photographer or be an artist. PB: The changes in education for professional JL: I’m not sure who said it, but there’s a quote that photographers were forced due to lack of advocacy has stuck with me –Everyone has a pen, but that from professional bodies and overall cutbacks in doesn’t make them a writer. I feel the same way education. As an educator at the Canberra Institute about the accessibility of a camera these days! Of Technology, we use to value professional photographers and had a three-year degree PB: Personally I find it difficult. Educating by qualification. Today, the highest qualification is a showing examples helps, but some people seem one-year full-time Diploma in photography. to think, “Oh, I can do that too”! Frustrating! People accept poor quality work because they don’t know BU: I had clients try to force digital on me around any different. 2002 when it was too early. I may have lost a few clients, but I don’t think I wasted much money on BU: Usually quality images speak for themselves, virtually obsolete camera bodies. I eventually went but clients’ budgets may be another (big) story. digital in 2005 with a Nikon D2X. In a similar vein, how much has social media had Many areas of professional photography were an impact in your field of photography? Is there still hard hit during the pandemic-related lockdowns. demand for traditional prints and albums (or the How did you deal with the restrictions and issues photo book equivalent)? surrounding Covid-19? For example, have there been opportunities to try out new things or ideas? WM: I’m a big advocate of the print. So much so that I’m now working one day a week in a WM: The pandemic took everything I had planned professional lab to do its social media and help with off the table. Twice. With no work, I was grateful for marketing. The aim is to encourage people to think government financial support. But the mindset was about the print, either for the first time or again 22

SPECIAL FEATURE PROFESSIONAL PHOTOGRAPHY if they let the ball drop. I, for one, have lost hard a professional photographer, without the need of BU: There have always been some part-timers drives of images because of technical issues. These industry approval or qualifications. They just need around who eventually morphed into the images are gone forever. If I had proof sheets and to earn their income from photography. mainstream. The first time I took some black-and- negs, this would not be an issue. I don’t personally Unless a group of young like-minded professionals white prints to a magazine in the 1960s, the editor have a big demand to supply prints, but I try and get together again to recreate a version of the AIPP, asked if I could write some words to go with the make some when I can. To me, a photo is never the industry is facing collapse. pictures. I did, but then my writing slowed down – finished until it’s a print. or stopped completely – during three decades of Having mentioned the AIPP, do you believe there intense commercial photography that followed. SE: All things are still operating alongside is still a need for a professional association for It resurfaced around 2003, so I’ve always been a each other. photographers at all? If so, how should or could part-timer as far as writing was concerned. It’s not it work to be both relevant and beneficial to a bad thing. JL: I do think there still is a demand for traditional its members? If not, how are certain standards prints and the art of the photo book, but it’s maintained – in both photography and business What things about photography still excite you? Do certainly become a niche. Social media and our practices… or does the new world of photography you still shoot just for fun or personal satisfaction? phones have become the vessel through which the no longer require this oversight? majority of people view images. WM: Yes, I still shoot for pleasure because what WM: I like to feel part of a community. So, just on happens in the world is still going on right in front PB: I’m finding that the photo book is for special that point, I’d love an association, but I don’t really of me... the moment that sparks my creative interest occasions when people want to create a memory; know why the last ones fell over and therefore how is the moment I want to capture something. otherwise the images are shown on the phone. best a new one could run. No money, lack of members, the usual squabble SE: Everything about photography and the moving The profession of photography is in some disarray in a long running organisation, missing the initial image – including cinema – excites me. in Australia at the moment, including the demise excitement and positive energy? These are usual of the AIPP, which leaves no representative body ingredients for why things to go astray… JL: I hope to always take pictures for fun and purely for mainstream working photographers. What do But if you look at organisations like Magnum, where for my own enjoyment. I am still passionate about you see as the main issues and what might be we hold in esteem anyone involved, maybe there printed matter, books, magazines, photo prints, the solutions? is something in that that could be borrowed? Merit etc. I don’t think that is something that will ever needs to play a big part. change as that was my first love and exposure to WM: I believe having an official body is immensely photography. helpful. I couldn’t always afford the costs of SE: This is for professional photographers to work membership fees every year, but if I needed help out. Step up. PB: The still image still excites me, especially seeing there was always someone attached to these an extraordinary photograph where dedication organisations that would assist. You felt supported PB: Personally, I believe there needs to be a to the craft is shown. I now only shoot for my and felt like you were useful, worthy and had professional photography voice… because without personal pleasure and, very occasionally, will I do a something to offer this world. An official body it, the industry is being degraded. Where are the professional project. would also mean that you had confirmation of your standards? The new professional organisation status in the industry. should set a benchmark and requires equal BU: I’ve never really stopped shooting pictures for representation of all genders. myself, and I suppose that moving between the SE: You must take responsibility in the area you coast and the bush helps. And I never stop being identify yourself working in. It is important to step At one time, a professional photographer would surprised at what my eye finds. up and make things better, not to rail against the have been someone who earned all their income dying of the light. from photography. In your opinion, is this still a true How do you see the next two, five or 10 years definition, and what effect have the part-timers had panning out for professional photography in PB: The issue is that there is no longer a on the business… for better or for worse? Australia? professional photography voice assisting the industry and therefore nobody advocating WM: I’d like to think it’s still a true way to identify WM: From experience, five years is a really long to government or education. Therefore, the the professional. Part-timers tend to undercut what time in technical terms. These changes may affect professional photography industry is decreasing. a job is worth… the professional even more, but I just hope that However, I do not believe it will completely die out professional quality in everything floats to the top as there are people out there with good aesthetics SE: I think it is always good to wear more than one so people understand it. I reckon, sadly, the world who will employ a professional for a quality job. hat in your profession and life. It certainly gets you is dumbing down. Being unique is the only way However, anyone that wants to can call themselves nowhere to whinge. forward. It is important to step JL: I don’t think there is anything wrong with JL: I’m seeing a lot more of a shift towards the up and make things being multi-faceted and defining a ‘professional moving image. More and more, as time goes on, better, not to rail against photographer’ is a tricky one. The landscape has I don’t think the way we view images, particularly the dying of the light.” changed over the years and what is expected in advertising, will be static. I’ve noticed this has of you from clients, for instance, has expanded. already been happening overseas in major cities Sandy Edwards However, I do still believe there is merit in the like New York and Tokyo for instance. expression, “jack of all trades, master of none”. My definition of a ‘professional’ is someone who PB: Personally, I think the future is not so bright. The is devoted to their craft and treats it with the industry is changing and so are the challenges. utmost respect. Sometimes I feel this is lost with newcomers that simply ‘dabble’ in a certain pursuit. 23

SPECIAL FEATURE PROFESSIONAL PHOTOGRAPHY Given that professional photography faces plenty Burnt alpine ash and snow pole, Mount Hotham, Victoria, 2013. Photo by Bruce Usher. of challenges at the moment, what would be your advice to anyone contemplating a career behind the it’s done. Maybe apprenticeship positions can be that in photography because there are so many camera? What do they need to think about most? created? I’d prefer to see it as a registrar of assistants different types of photographers and styles. One so it operates as we freelancers operate – book of the great things about being a photography WM: Understand your craft and medium as when needed. If they are good, they will hopefully assistant is you can work with a diverse range of much as the business side of things. Don’t offer be booked constantly. photographers and learn something new from completed jobs in extremely short amounts of time each one. You never know when you might need to because that will then be what is expected every SE: Mentors will always have a role. pull something from your bag of tricks. I also think, time. Good images require time to create. when you are starting out, it can help you decide This is probably why I don’t get some jobs, but I JL: For me, the experience was invaluable. I gained what you like to shoot and what you definitely don’t mind. I’d rather do jobs that require thought more in a day on set working with a professional don’t like! and consideration. photographer in the industry than what months of study in a classroom could have imparted. I was PB: Apprenticeships may be the way of the SE: To be passionate about it. To get your rewards never formally trained in photography, I actually future, especially with photography courses being from what you do, rather than looking around you studied communications and graphic design downgraded and undervalued. at other people. at college, but I suppose you could argue there are a lot of crossovers. I do believe there are still BU: For some high-profile photographers the work JL: You need to really love what you do and, in an opportunities for emerging photographers, but I doesn’t happen on a daily or even weekly basis… arena that’s so heavily saturated, it’s more important have noticed that the younger generation is more so perhaps a moveable apprenticeship. But the now than ever to have a perspective or voice that’s eager to just get out there and shoot… which isn’t reality in photography is a lot like in writing (there unique to you. a criticism. The learning curve has become shorter are no apprenticeships here either). and I don’t know if that has something to do with PB: I wouldn’t be advising to get behind the digital photography being a lot more forgiving and Final thoughts? camera, unless the person has a backup income to the information is easily accessible now through assist ironing out the financial peaks and toughs. YouTube, Instagram, etc. WM: I’m actually happy to have straddled the However, there may be market opportunities that analogue and digital worlds. I‘m glad I had as haven’t been considered previously. PB: Assisting other photographers was essential many years as I did with film because without that for on the job experience. Unfortunately, learning experience, I’m not sure I would ever have made it BU: Have a great eye. Learn video shooting and the theory doesn’t give you a fast-track approach to thus far. Digital lacks patience. Patience is a really editing. It will definitely help if you are outgoing learning from experience. useful and required skill in photography. with a good personality. Meet lots of people who Not wanting to end on a negative note, I think that can help you (and then meet some more). Develop BU: Most of the many photographers that I have professionals will always be here to stay. The fight your own point of view. interviewed for this magazine since 2004 have may be tough at times, but quality will always win learnt more in the first week of assisting than from over. Taking photos is always so magical, and no Many young photographers started out by assisting months or even a year of theory. matter how they are made, it will remain magical! established photographer. How valuable were these experiences? Are there still these opportunities for Carrying on from the last question, would some SE: Just love what you do and always work for emerging photographers? Or does everybody now sort of apprenticeship system work in photography? your community as well as yourself. Photography just learn the theory, but not the practice? How else do emerging photographers gain valuable lends itself to loners and that is not grounds for on-the-job experience? happiness. We are born into a family. WM: It’s always best to learn from the professionals no matter the skill… any time spent with a pro is WM: I’d be happy to be available to take on an PB: Entering international photography time well spent. Even to this day I still learn from apprentice, but on a per job basis as I don’t have competitions can also increase a photographer’s other professionals and I’ve been doing this work a studio to accommodate someone around all profile. I noticed the Helsinki Photo Festival had 309 for 40 years! the time. applications from 47 countries. They only chose I’m happy to share my knowledge, and this is 80 to exhibit around the city. When I see this, I get possibly a key to how best to keep our industry JL: In an ideal world, an apprenticeship system excited that photography is still alive and well. alive… teach the newcomers, show them how would be great, but I don’t think it’s as clear cut as “I’m happy to share my knowledge, and this is possibly a key to how best to keep our industry alive… teach the newcomers.” Wendy McDougall 24

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CANON EOS R3 Like A Shot from another brand, but to convince its current DSLR users to make the switch CANON EOS R3 to mirrorless… and that’s arguably the greater challenge. To achieve this, A new era in the Canon-versus-Nikon rivalry in high-end pro Canon is using both a stick and a carrot. cameras begins with the arrival of the first mirrorless speedsters The stick is that its announced there from both brands. The EOS R3 shows what can be done with speed won’t be a successor to the EOS-1D X when there’s no reflex mirror getting in the way. Mark III so, put bluntly, you don’t have much of a choice here. The carrot is the REPORT BY Apart from the near decade have come up with fairly different EOS R3 and its leveraging of the key PAUL BURROWS interval between the Nikon F – interpretations of the brief. OK, there’s benefits of the mirrorless configuration. the camera that launched this category commonality in the shared objectives of 26 – and Canon’s cheekily designated F-1, speed, capabilities, reliability and As per Canon’s pro-level DSLRs, the two brands have pretty much durability, but both have got there by there’s an integrated vertical/battery shadowed each other with the launches different routes… particularly in terms grip that makes the R3 bulkier than all of their pro-level cameras. So it is with of the execution and ergonomics. the previous RF-mount bodies, but it’s their respective first ‘proper’ pro still significantly smaller and lighter than mirrorless cameras, but as has As we’ve noted with Nikon’s Z 9, the 1D X III. The body-only weight is happened over the last 50 years, both the primary objective with the Canon 822g alone – or 1,015g with the battery EOS R3 is not to win over converts pack and a memory card, which is 425g lighter than the DSLR. The key size difference is in the height – 142.6mm for the R3 while the 1D X III is a full 25mm taller. Incidentally, the R3 is very close in size to Olympus’ OM-D E-M1X which, of course, is an M43 format camera, so Canon has done a great job in terms of making it as compact as it is. The construction comprises a one- piece magnesium alloy chassis and covers with weather sealing to the same level as the 1D X III, but with the addition of insulation to enable shooting in subzero temperatures down to -10ºC. Conveniently for converts from the DSLR, the R3 uses the same high- capacity, 10.8 volt, 2,700mAh LP-E19 lithium-ion battery pack as the 1D X III, which is good for around 620 shots when using the EVF and the camera is in its Power Saving mode. This can stretch to 860 shots when only using the LCD monitor. In-camera recharging and powering is possible via USB-C. Stacked Up On the inside, the R3’s sensor is Canon’s first backside-illuminated (BSI) full- frame CMOS imager that uses a stacked design to allow for a much faster data read-out. This configuration also reduces rolling shutter distortion and gives a blackout free viewfinder during high-speed shooting. It’s been designed and fabricated entirely in-house. Additionally, the faster scanning speed enables the flash sync speed when using the electronic shutter to be lifted to 1/180 second. However, unlike the Z 9, the EOS R3 retains a

CANON EOS R3 conventional mechanical shutter… The rear control plus a 1.6x crop when using Canon’s The primary so the traditionally more conservative panel virtually EF-S APS-C format DSLR lenses via a objective with Nikon has taken the brave pills here. replicates that of mount adapter. JPEGs can be captured the EOS R3 is not to the EOS-1D X III. at one of four image sizes and there’s win over converts The stacked sensor design a choice of 10 compression levels. This from another brand, incorporates a second silicon chip is also available for 10-bit HEIF files but to convince Canon behind the imaging layer that features that essentially allow for HDR capture. pro DSLR users to bult-in integral memory (DRAM) – so HEIF (High Efficiency Image Format) make the switch the data can essentially be ‘marshalled’ uses a more efficient compression to mirrorless.” prior to read-out to speed things up algorithm than JPEG, delivering both a considerably – and also some data wider dynamic range and a wider colour the 10-bit HEIF files – are essentially the processing capabilities. The effective gamut (via the Rec.2020 colour space), same as those available with the R5 and pixel count is 24.1 million (from 26.7MP representing twice as much data at R6. These start with a choice of eight in total) and an optical low-pass around the same file size. RAW files are Picture Style presets with adjustable filter is retained. Canon’s latest Dual captured with 14-bit RGB colour and parameters for sharpness (into Strength, Pixel CMOS AF II is incorporated, so lossless compression, with the option of Fineness and Threshold), contrast and essentially every pixel is involved in cRAW files that use lossy compression colour tone. Additionally, there’s an autofocusing, giving full-frame coverage. and so are roughly 40% smaller. Both Auto Picture Style that adjusts the The native sensitivity range is equivalent RAW+JPEG and RAW+HEIF capture are processing parameters according to to ISO 100 to 102,400 with one-stop available in any combination of the analysis of the subject based on data extensions down to ISO 50 and up to available capture settings. As already from the AF, AE and white balance ISO 204,800. noted, there are dual card slots – one systems. Furthermore, up to three for the ultra-fast CFexpress Type B customised Picture Styles can be Five-axis in-body image stabilisation devices and one for SD with, not is provided via sensor shifting, with surprisingly, UHS-II speed support. Canon’s Co-ordinated Control IS – which combines IBIS and OIS – delivering up Pic And Mix to eight stops of correction for camera shake, depending on the lens. However, The in-camera image processing options the worst case scenario is still 6.5 stops for JPEGs – which are also applicable to of correction, and most offer between seven and eight stops. The sensor is mated with Canon’s latest-generation DiG!C X processor, enabling continuous shooting at 30fps with full AF and AE adjustment frame by frame. Obviously this is with the electronic shutter, but notably the 30fps top speed is still maintained with 14-bit RAW capture. The faster processor also drives the video specs up to 6K RAW recording internally at 50/60p, and 4K DCI/UHD recording at up to 100/120p. The full scope of the EOS R3’s video capabilities is covered in the Making Movies panel. With stills capture at 30fps, burst lengths are around 530 frames for best- quality JPEGs and up to 150 frames for RAW. Using the mechanical shutter, the maximum continuous shooting speed is 12fps, again with full AF/AE adjustment, and burst lengths exceeding 1,000 frames for JPEGs and up to 290 RAW frames. This is with a UHS-II speed SD card, but switch to using a CFexpress card and you’ll get over 1,000 frames with RAW capture too. The maximum image size is 6000x4000 pixels, with the choice of 3:2, 4:3, 16:9 and 1:1 aspect ratios, 27

CANON IN DETAIL EOS R3 The ‘Smart Controller’ optical created and subsequently stored. The have been significantly increased touch-sensitive Picture Style presets can be applied to include high-frequency LED light navigator first to both JPEGs and HEIF files in-camera, sources (and displays), and you can now appeared on the and to RAW files post-camera via manually fine-tune the shutter speed EOS-1D X Mark III. Canon’s Digital Photo Professional – in 1/10 stop increments – using the software flickering seen in the live view feed as Mode selection is via the guide. There’s also an auto mode a button and wheel Canon’s long-serving Auto Lighting to detect the flicker frequency and arrangement. Optimiser and Highlight Tone Priority adjust the shutter speed accordingly. processing functions are provided for Additionally, flicker correction is now Many elements contrast control and dynamic range available with the sensor shutter too, of the R3’s control expansion respectively. Alternatively, which makes sense as many sports layout have been there’s multi-shot HDR capture that photographers, in particular, will be carried over from operates over three frames with the using it more often than the mechanical the EOS-1D X exposure adjustment manually set to shutter. And for these users too there’s Mark III. +/-1.0, +/-2.0 or +/-3.0, or automatically a fully silent shooting mode that also adjusted according to the brightness switches off all the other distractions Flash hotshoe has range detected in the scene. An auto such as the AF assist light. It’ll be handy been upgraded to image align function is available, with for wildlife shooters too. include connections the addition of correction for ghosting for camera (should something move slightly during The manual in-camera lens power and data the capture process). The silly additional corrections are for vignetting and communications, effects have been dropped. distortion, with the option of the so it’s now called Digital Lens Optimiser that collectively the ‘Advanced You can also tick the boxes for an processes for chromatic aberrations, Accessory Shoe’. intervalometer (programmable for up diffraction and the effects of the to 99 frames or set to unlimited), a sensor’s low-pass filter on sharpness. EVF is new with multiple exposure facility (for up to nine This is specific to the attached lens, a refresh rate of frames with either average or additive with the option of Standard or High 120fps, although it exposure regulation), flicker detection/ settings. has the same basic correction, focus bracketing (adjustable specs as the R5’s. over 10 steps and for up to 999 frames), Track Work multi-shot noise reduction, and a bulb timer (for pre-setting long exposure Talking of sharpness, the EOS R3 has times of up to 99 hours, 59 minutes and some serious fire power in terms of its 59 seconds). The anti-flicker measures autofocusing system. As mentioned at The last time the number ‘3’ alone was used in a Canon EOS model designation. The EOS 3 was launched in late 1998 and the link with the R3 is Eye Control AF (although on an optical finder rather than an EVF). Shutter automatically closes over the sensor to protect it when there’s no lens attached. 28

THE MENUS CANON EOS R3 Menu arrangement is the same as that used across Four ‘Case’ scenarios are provided to better match Eye Control AF makes a return after over the R- and EF-mount bodies, but has full touch the tracking parameters to the type of subject 20 years. It can be calibrated for up to six control implementation. movement. different scenarios. The Quick Control menu can be shown as a standalone display or with the function tiles superimposed Live view screen can be configured with numerous over the live view feed. elements, including a real-time histogram (RGB graphs in the Exposure Simulation mode), level indicator, guide grid and various indicators like flicker detection. Image review thumbnail display can be cycled through a total of nine sets of info (eight are shown here), including RGB histograms, lens data (including the actual focal length used), main capture-related data, the lens correction settings, the Picture Style parameter settings (over two pages), the white balance settings (including any fine-tuning) and the noise reduction settings (plus the selected colour space). 29

CANON EOS R3 30

CANON EOS R3 Although it’s Recognition AF) system enables it to Eye Control AF on the R3 still uses the commence tracking even when the same system as back in the 1990s, substantially focusing point is only close to the with infrared beams detecting exactly subject and, additionally, any focusing where the eye is looking… and where smaller and lighter point or AF area zone can be used to the camera will then focus, so it’s commence subject tracking. virtually instantaneous. The system than the EOS-1D X III, requires calibration to the user’s A set of four ‘Case’ scenarios are eyes – which is easy to do – and can the R3 exudes provided to better match the tracking take into account wearing glasses or parameters to the type of subject contact lenses. the same feeling of movement – Case 1 is the “Versatile multi-purpose setting\", Case 2 is for A magnified image – at either 5x or tough invincibility.” “Continue to track subjects, ignoring 10x – is available to assist with both possible objects”, Case 3 is “Instantly autofocusing and manual focusing, the start, it’s based on Canon’s focus on subjects suddenly entering but the latter can also be guided by latest Dual Pixel CMOS AF II AF points” and Case 4 is for “Subjects a distance scale and a focus peaking technology, which gives very close that accelerate or decelerate quickly”. display with the choice of red, yellow to 100% frame coverage as every All four allow for further tweaking via or blue colours at two levels of pixel site is in on the act. A total of plus/minus adjustments for Tracking intensity. There’s also the nifty Focus 4,779 user-selectable points provide Sensitivity and Accel/Decel Tracking. Guide display that was introduced phase-difference detection and 1,053 The fifth option is an auto setting with the original EOS R and provides of these are in play for automatic that adjusts if the subject’s pattern of an added manual assist by indicating selection. AI-based ‘deep movement changes using any of the the degree of back- or front-focus learning’ provides object variables of the four fixed Cases. via a trio of little pointers, as well as recognition for people, animals and when the subject is in-focus. Thanks birds, and vehicles (specifically for A blast from the past is the to the faster sensor racing cars and motorcycles, but re-appearance of Eye Control AF read-outs, both the AF and AE presumably it will work with ordinary which works by focusing on whatever operate at 60fps in terms of ones as well). There’s eye-, face- and you’re looking at in the viewfinder. measurements and adjustments. body-detection for humans, and eye The feature was first introduced with detection for animals and birds. Face the EOS 5 enthusiast-level 35mm SLR Dual card slots are provided for detection has been upgraded so it in 1992 and then on the semi-pro CFexpress Type B and SD UHS-II. will work with somebody wearing a EOS 3 in 1998, and it must have been helmet or goggles (such as the driver a lot harder to do with an optical 31 of an open-wheeled racing car). viewfinder than with an EVF. However, Undoubtedly a sign of the times TEST IMAGES but eye detection will recognise somebody wearing a face mask, as Test images well as when the subject is in profile captured as JPEG/ or the eyes are shaded (such as by a large/fine files with broad-brimmed hat). Canon RF 28-70mm f/2.0L USM and RF Low-light sensitivity extends down 70-200mm f/4.0L IS to -7.5 EV at ISO 100 and f/1.2. The USM zoom lenses, area modes start with Spot AF and shutter-priority auto then progress in size through 1-Point exposure control AF and then Expand AF. The latter has with multi-zone two options, starting with five points metering, and the in a + pattern. Alternatively, it can be Landscape Picture set to use a cluster of nine points in Style preset. Out-of- a 3x3 pattern. New is the provision the camera JPEGs of three customisable Flexible Zone deliver very well- AF modes that have the same default resolved definitions shapes as the previous fixed Zone AF with smooth tonal modes (i.e. square, or either vertically- gradations and good or horizontally-orientated rectangles), colour fidelity across but can now be changed in terms of the spectrum. The both shape and size (similar to what’s excellent high-ISO offered on the Panasonic Lumix S performance gives cameras). An upgrade to Canon’s flexibility when EOS iTR AF X (Intelligent Tracking & shooting handheld in low-light conditions.

CANON EOS R3 ISO 50 ISO 100 ISO 200 ISO 400 ISO 3200 ISO 800 ISO 1600 ISO 25600 ISO 6400 ISO 12800 ISO 204800 ISO 51200 ISO 102400 32 TEST IMAGES The EOS R3’s native sensitivity range is from ISO 100 to 102,400 with extensions ISO RANGE to ISO 50 and 204,800. The full native range is useable and, even at ISO 102,400, the amount of noise reduction related softening is still comparatively minimal. These test images are JPEG/large/fine files taken in the aperture-priority auto exposure mode with the aperture set to f/11, so the exposure time varies to compensate for the ISO adjustments.

CANON EOS R3 VIDEO CANON HAS BEEN A LITTLE MORE of 10-bit C-Log/HDR colour. also zebra patterns, time coding with conservative with the EOS R3’s video The HDMI output options cover drop-frame correction, focus peaking Making offerings compared to the R5, but only displays and image magnification to Movies a little. However, the emphasis is more 4K DCI at 60/50/30/25/24p, 4K UHD assist with manual focusing. on what photographers who might also at 60/50/30/25/24p, and Full HD at need to shoot video – such as in news 60/50/30/25/24p with 8/10-bit 4:2:2 Given the controversy with the R5 and sports –are going to want. colour and support for C-Log3 or HDR overheating when recording at high PQ. The connector itself is the micro resolutions and frame rates, Canon The headline act is 6K Cinema RAW Type D and not full-size. claims that there’s no heat-related clip (CRM) recording internally at 6000x3164 length limits with the R3. However, pixels (i.e. the DCI 17:9 aspect ratio), On the audio side, the EOS R3 in practice, there are, but they’re still which requires the super-fast CFexpress has built-in stereo microphones pretty generous and card capacities will memory card. There’s a full set of frame supplemented by a stereo audio input, stop things a lot earlier, especially with rates at 60, 50, 30, 25 and 24fps and plus a stereo output for monitoring 6K recording. The maximum duration the bit rate is a massive 2,600Mbps headphones. Sound levels can be for 4K at 50/60p is quoted at 90 or 1,800Mbps if you opt for the RAW manually adjusted, plus there’s a wind- minutes, which drops to around 60 Light compression option. The full width cut filter and an attenuator provided minutes with 6K RAW recording. High of the sensor is also used for 4K DCI to deal with excessive noise. The new ambient temperatures will make a recording in the MP4 format, while 4K Multi-Function Shoe has connections difference though. With 4K recording UHD footage is derived from 5.6K to provide both power and data at 24/25/30p, you’ll run out of memory oversampling. Intra-frame (ALL-I) and communications and among the card or battery before anything else. inter-frame (IPB) compression are supported accessories is the new The slow-mo frames rates are a available (plus IPB Light) for both DM-E1D digital stereo microphone. different matter and here there’s a MP4 and CRM Light. With 4K there’s Being powered from the camera, it 12-minute limit, because a lot of heat is a full set of frame rates from 24fps eliminates a battery – as well as a generated at 100/120p. The camera has up to 100/120p for slow-motion clips connecting cable – and has three an ‘Auto Power Off Temperature’ control (although there’s no oversampling at selectivity settings for shotgun, 90 that can be set to Standard or High. these fastest rates). In terms of degrees and 120 degrees. quality, as an example, 4K DCI at 50/60p By any measure, the EOS R3 is a with ALL-I gives a bit rate of 1,000Mbps. All the expanded AF capabilities are massively capable video camera and All this is with the H.264/MPEG-4 AVC available, including across-the-frame there’s more than enough here for the codec and 8-bit 4:2:0 YCbCr colour. subject tracking and object pro video-maker who's happy with Canon Log 3 is built in for recording recognition for people, animals and the larger camera body, although it’s 10-bit 4:2:2 colour, and HDR recording vehicles. Additionally, video not that much bigger than the likes is in the PQ format again with 10-bit functionality extends to all the PASM of Panasonic’s Lumix S1H. Obviously colour, both using the more efficient exposure control, the Picture Style it’s bigger than the R5 (which is also H.265/HEVC codec. With the MP4 presets, the Auto Lighting Optimiser cheaper), but if you don’t want or need format, simultaneous video recording and Highlight Tone Priority correction 8K video, then this is arguably the better to both memory cards allows for in- processing, lens aberration corrections, all-rounder package, especially for camera backups, again with the option high ISO noise reduction and all the anybody who needs to regularly shoot same white balance control options that both stills and video. are available for photography. There are Light Speed under- or overexposure. allows for flash sync at up to 1/180 second The R3’s mechanical shutter has a speed (meaning the maximum possible shooting As with the rest of the EOS R clan, exposure speed is 15fps). The hybrid electronic first control is based on TTL metering off the range of 30-1/8000 second, plus ‘B’, and with curtain shutter allows for flash sync up to 1/250 imaging sensor using 384 measuring zones. flash sync up to 1/200 second. It’s rated to second. There’s a new hotshoe that Canon's The metering options are multi-zone, selective 500,000 cycles, which looks like a lot, but many calling the ‘Multi-Function Shoe’ and, similar area (representing 5.9% of the frame area), sports photographers really chew through the to Sony’s Multi Interface Shoe, has a set of spot (2.9%) or centre-weighted average. The frames at every event… especially shooting connections at the back to provide both power metering’s sensitivity range is EV -3.0 to 20 at at 30fps. When the camera is switched off, the and data communications in order to support ISO 100. The standard set of PASM exposure shutter automatically closes over the sensor new accessories. These include the DM-E1D control modes is supplemented by an AE lock, to protect it when there’s no lens on the body. digital stereo microphone, the compact ST-E10 up to +/-3.0 EV of compensation and auto In our experience, this really should be an Speedlite Transmitter (for use with RF controlled bracketing (over sequences of two, three, essential feature on all mirrorless cameras as flash units) and the AD-P1 Smartphone Link five or seven frames, and with up to +/-3.0 it is just so easy to get dust – or worse – on a Adapter. Traditionalists will be glad to know the EV adjustment). Bracketing and exposure sensor because it’s so close to the lens mount. good old PC flash terminal is retained. compensation can be combined, in which case there’s up to six stops of adjustment for either The electronic shutter has a new record top White balance control also now benefits speed of 1/64,000 second and, as noted earlier, 33

CANON EOS R3 from ‘deep learning’ algorithms that of the positioning method (Relative or It’s quite a bit Eye Control AF and also support a faster use image data from the sensor to Absolute) and the active screen area bigger than any of 120fps refresh rate. It uses a 1.27cm better identify subjects and situations, (the whole panel, right, left, top, bottom, its current EOS R OLED panel with 5.76 million dots and adjust colour balance accordingly. top right, bottom right, top left and stablemates, but the resolution and 0.76x magnification. Also There’s the choice of either Ambience bottom left). R3 is significantly new is an Optical Viewfinder Simulation Priority or White Priority modes for less of a handful mode that switches off all the previews the automatic correction. The latter A total of 13 on-camera controls are than the EOS-1D and boosts both the dynamic range aims for neutrality while the former is customisable, as is the AF Stop button X Mark III. More and the brightness to help make the a development of the old ‘keep warm found on some the RF lenses. There DSLR converts feel at home. The rear colours’ correction, but works with are two dedicated M.Fn buttons that comfortable to screen is fully articulated – believe it whatever colour cast predominates in a can be assigned functions from a list handle with better or not, for the first time on a pro-level scene. Alternatively, there are six lighting that runs to over 50. In fact, the M.Fn1 EOS camera – and uses a 3.2-inch TFT presets, five custom presets (with the button is truly multi-functional as you ergonomics too. LCD panel with a healthy 4.15 million convenience of direct measurement can assign up to five functions that will dots resolution. Both the display and the from the live view image), fine-tuning, all be accessible via the rear screen, EVF can be adjusted for brightness and auto bracketing (over three frames) and with navigation via the front input wheel colour tone. manual colour temperature setting over and Quick Control Dial. In practice, a range of 2,500 to 10,000 Kelvin. this works exceptionally well as you The live view screen can be can group the items you’ll most need configured with a real-time histogram, a In The Hand on-the-fly into one place. Additionally, dual-axis level display, a focus distance the functions of the camera’s control scale and a guide grid (selected from The biggest surprise when you first pick wheels – and the control ring on the a choice of three). Furthermore, you up the EOS R3 is just how light it is. It lenses – can be set within the scope can choose between either brightness looks like a bit of a bruiser, but you’ll of the key capture-related settings, or RGB channel histograms and in definitely notice the difference in weight so you can make all the important stuff either large or small sizes. All these if you’ve used a pro-level DSLR before. – i.e. apertures, shutter speeds, ISO configurable elements also appear in The handgrip benefits from extra depth and exposure compensation – readily the EVF. and this is true in both the horizontal accessible. and vertical orientations. The latter The rear screen can be cycled replicates all the controls of the former. The EVF has the same specs as the through five displays, with progressively R5’s, but redesigned to accommodate increasing read-outs and indicators or a There are quite a few similarities comprehensive info panel. You can have with the EOS-1D X Mark III’s control The R3’s very wide native sensitivity the Quick Control menu as a separate layout – particularly the back panel, range is all usable, and noise is very well screen or as tiles superimposed over which is virtually identical – but also managed even at the highest settings.” the live view image (with touch control). with the EOS R5, including the main mode selector wheel and an info Image review screens can be either display on the top panel. The mode via a full image – with or without basic selector’s rotating ring also serves as capture data – or a thumbnail display the rear input wheel (the vertical grip accompanied by a brightness histogram. gets a conventional one), but Canon’s As on the EOS-1D X III, the lower section long-serving Quick Control Dial on the rear panel is retained, plus there’s the joystick-type ‘multi-controller’ and the Smart Controller optical touch- sensitive control integrated into the AF-On buttons to enable even faster AF point selection. Consequently, there are numerous physical options for navigating the menus even before you get to the touchscreen, which includes the main menus, the even handier Quick Control menu screen, the live view screen (including autofocus, shutter release, exposure compensation and image magnification) and the key replay/review functions (including browsing, zooming and accessing the thumbnail pages). Additionally, there’s a Touch And Drag control (a.k.a. Touchpad AF) that can be fine-tuned in terms 34

CANON EOS R3 of this screen can subsequently be for remote camera control). The R3 is the first real challenges at it… such as racing car cycled through a total of nine sets of pro-level EOS accelerating rapidly towards the camera. info, including RGB histograms, lens Speed And Performance The Olympus E-M1X was rock solid data (including the actual focal length camera to have a here – even identifying multiple closing used), main capture-related data, Using a SanDisk Extreme Pro 512GB fully-articulated vehicles – so it will be interesting to lens correction settings, Picture Style CFexpress Type B card, the EOS R3 monitor screen. see if the R3 is just as good. It certainly parameter settings (over two pages), captured a burst of 217 JPEG/large/fine doesn’t have any problems with birds white balance settings (including frames in 7.311 seconds – a or animals in these sorts of situations any fine-tuning) and noise reduction shooting speed of 29.7fps. That’s – it’s super-fast and super-accurate settings (plus the selected colour impressive. Switching to the every time. The other thing to note space). Additionally, the AF point (or mechanical shutter, a sequence of with shooting fast-moving subjects points) used at capture can be shown 226 best-quality JPEGs was recorded is the near-absence of rolling shutter superimposed over the image (in either in 19 seconds dead, giving a shooting distortion (which is also the case when full screen or the thumbnail) and there speed of 11.9fps. The test files averaged shooting video). are the options of a grid guide and around 17MB in size. highlight warning for both too. Eye Control AF is interesting and We’ve already seen the Dual Pixel would seem like the logical option The thumbnail pages progress CMOS AF II at work in the R5, but the for speedy AF point selection in any through four, nine, 36 and 100 images R3 is obviously another step up in situation, but you need to learn how to while, in the opposite direction, zooming terms of speed and is able to keep up use it effectively and this means actually is available at up to 10x and centred with 30fps shooting and a fast-moving slowing down how quickly you move on the AF point/zone used to achieve subject. It is stunningly good no matter your eye around the frame. It takes focus. The slide show function has what you’re shooting. Furthermore, the a bit of practice. If you’re in the habit adjustable image display times and eye/head detection has gone up a good of constantly flicking your eye around a choice of transition effects, plus a few notches in terms of reliability and the viewfinder, the system follows repeat function. The in-camera editing very rarely loses tracking. The additional your every movement and the target functions include all the basics (such as object recognition for motorsport – and will likely overshoot the point where cropping or resizing), plus Photobook it’ll work for subjects such as mountain you want it to be. Plus, once you’re Set-Up and RAW-to-JPEG/HEIF file bikes too – further enhances its sports on target, you still need to manually conversion. A Quick Control menu is camera credentials and it was a pity we activate the AF; it doesn’t happen again available as an alternative to had the camera during the Australian automatically, which is probably hard to the conventional system and with the off-season so we couldn’t throw any convenience of function selection via 35 the touchscreen. There’s a full suite of interfaces comprising micro HDMI (Type D), RJ-45 Ethernet (up to 1000Base-T), 3.5mm stereo audio in, 3.5mm stereo audio out and N3 remote trigger. Wireless connectivity is via Wi-Fi (with dual 2.4 and 5GHz bands) and Bluetooth LE Version 5.0. A GPS receiver is built-in, as is the wired LAN capacity of the accessory WTF transmitters. It provides FTPS, SFTP and HTTPS support and uses the Canon Mobile File Transfer app (which is a paid service). This is undoubtedly more convenient for both news and sports photographers. Alternatively, the AD-P1 Smartphone Link Adapter mentioned earlier also allows for a more stable wired connection, via an iOS or Android smartphone using the 5G network. This will also enable firmware upgrades to be made via your smartphone using the Canon Camera Connect app (which also allows

CANON EOS R3 do if it’s bouncing around erratically, but capability regardless of the subject or but different… with these differences would make it much quicker. situation. It’s a lot less taxing to use being there to make the camera even over long periods – which is often easier to work, especially if things are As with the R6, the R3’s sensor the case with sports events – and the happening quickly and you’re under a balances resolution with pixel size control layout is arguably Canon’s best bit of pressure. which, at 6.00 microns, ensures a wide effort yet in terms of the ergonomics dynamic range and enhanced sensitivity. and accessibility, with all the attendant The setup options are myriad – hard This, in turn, translates into excellent efficiencies and operational speed. Like keys, customisation, quick menu and high-ISO performance that's reflected the supermarket chain ad: it’s the same, touchscreen – with the result that you in the R3’s very wide native sensitivity can configure the R3 to do exactly what range of up to ISO 102,400. It’s all usable you want and how you want to do it. too, and noise is very well managed The AF is close to flawless and the Eye even at the highest settings where the Control feature is not the gimmick you image quality is still very acceptable might first suspect… in some situations in terms of definition and saturation, it’s definitely useful. Expect it to be although some softening is evident in further refined over time. bigger enlargements. The wide dynamic range and low noise characteristics also While the emphasis is on speed, combine to give an increased exposure in reality the EOS R3 is actually more latitude when shooting in RAW, and of an all-rounder as it also delivers hence more flexibility for dealing with enough resolution for a whole host of the shadows in post-production. applications beyond sports and wildlife. Given how the data from the stacked The resolution is quite sufficient to sensor is being processed, this is very give crisply-rendered fine detailing and much a case of not how many pixels smooth tonal gradations and, more you have, but what you do with them. notably, it’s more than enough for all It’s also a very approachable and the applications that this camera is accessible camera on a great many designed for. The out-of-the-camera levels, hugely enjoyable to use and JPEGs have great colour, with an capable of superlative results no matter excellent balance of saturation and what you throw at it. It’s hard to see realism. Colour accuracy is very good the most rusted-on DSLR devotee being across the spectrum. able to resist it for very long. The Verdict The EOS R3 is designed for use in Although it’s substantially smaller and a variety of weather lighter than the EOS-1D X Mark III, the conditions. Sealing R3 exudes the same feeling of tough materials are used invincibility and, importantly, of supreme in critical areas like the buttons, dials, 36 levers, terminal covers, battery compartment and the card slot cover.

SPECS CANON EOS R3 $8,599 body only CANON Type: Professional digital mirrorless camera with tings, ten HEIF compression settings, RAW lossless EOS R3 Canon RF bayonet lens mount. compression and cRAW lossy compression. JPEGs Focusing: Automatic via 4,779-points wide-area captured with 8-bit RGB colour, HEIFs with 10-bit for SD devices with UHS-II speed support and one for system using phase-difference detection measure- RGB colour and RAWs with 14-bit RGB colour. Four CFexpress Type B (no support for XQD). ments via ‘Dual Pixel CMOS AF II’ giving 100% vertical resolution settings at 3:2; 6,000x4,000, 3,984x2,656, Continuous Shooting: Up 540 to JPEG/large/fine coverage and 90% horizontal coverage. 1,053 focus 2,976x1,984 and 2,400x1,600 pixels. Four resolution frames or 150 RAW frames at 3fps with the sensor points available for automatic selection. Area modes settings at 4:3; 5,328x4,000, 3,552x2,664, 2,656x1,992 shutter and CFexpress memory card. Up to 460 HEIF are Spot AF, 1-Point AF, Expand AF (above/below/left/ and 2,112x1,600 pixels. Four resolution settings frames at 30fps with the sensor shutter and CFex- right), Expand AF (around), Zone AF (9x9 points), Large at 16:9; 6,000x3,368, 3,884x2,240, 2976x1680 and press memory card. Over 1,000 JPEG/large/fine, HEIF Zone AF (vertical, 9x21 points), Large Zone AF (hori- 2,400x1,344 pixels. Four resolution settings at 1:1; or RAW frames at 12fps with the focal plane shutter zontal, 31x9 points), Flexible Zone (1/2/3), and head/ 4,000x4,000, 2,656x2,656, 1,984x1,984 and 1600x1600 and CFexpress card. face/eye detection. Adjustable AF point size (small or pixels. Two resolution settings at a 1.6x crop (i.e. APS- White Balance: Auto/manual with six presets and large). AI-based subject tracking for People, Animals C); 3744x2496 and 2400x1600 pixels. RAW and cRAW up to five custom settings, white balance bracket- and Vehicles (racing cars and motorcycles). One-shot images captured at 6,000x4,000 pixels. RAW+JPEG and ing, white balance correction (blue-to-amber and/ and continuous (AI Servo) modes with manual switch- RAW+HEIF capture is possible. or green-to-magenta over plus/minus nine steps) ing. Continuous AF with predictive function and accel- Video Recording: Cinema RAW 12-bit (internal) – 6K and manual colour temperature setting (2,500-10,000 eration/deceleration tracking and adjustable tracking DCI at 6,000x3,164 pixels; 60, 50, 30, 25 and 24fps at degrees Kelvin). Auto correction can be set to either sensitivity. ‘Servo AF’ configuration tool (four subject 17:9 aspect ratio (RAW = up to 2,600Mbps and RAW Ambience Priority or White Priority. scenarios – ‘Case 1 to 4’ plus auto ‘Case A’). Touch Light = up to 1,800Mbps). MP4 format (H.265 HEVC Interfaces: USB Type C (USB 3.1 Gen.2), RJ-45 Ether- & Drag AF operation via touchscreen monitor when compression - C-Log/HDR PQ, 8/10-bit colour) – 4K net (1000BASE-T), micro HDMI (Type D), 3.5mm stereo using EVF. Low light assist via built-in LED illuminator. DCI at 4,096x2,160 pixels; 60 and 50fps at 17:9 aspect audio input, 3.5mm stereo audio output, remote Sensitivity range is EV -7.0 – 20 (f/1.2, ISO 100). Manual ratio (ALL-I = up to 1,000Mbps, IPB = up to 340Mbps, control terminal, PC flash. focus assist via magnified image (6x or 15x), focusing IPB Light = up to 170Mbps). 4K DCI at 4,096x2,160 Additional Digital Features: In-body image stabi- peaking display (red, yellow or blue; high or low level) pixels; 30, 25 and 24fps at 17:9 aspect ratio (ALL-I = lisation with five-axis movement and up to 8.0 stops and ‘Focus Guide’ display. Eye control AF using line-of- up to 470Mbps, IPB = up to 170Mbps, IPB Light = up of correction (depending on the lens), active sensor sight sensor (7,560 pixels) and with calibration for up to 85 Mbps). 4K DCI at 4,096x2,160 pixels; 120 and cleaning, sRGB or Adobe RGB colour spaces, eight to six users. 100fps at 17:9 aspect ratio (ALL-I = 1,880Mbps). 4K ‘Picture Style’ presets (Auto, Standard, Portrait, Land- Metering: Via 384-zones evaluative (linked to all UHD at 3,840x2,160 pixels; 60 and 50fps at 16:9 aspect scape, Fine Detail, Neutral, Faithful and Monochrome), AF points), selective area (5.9% of image area), spot ratio (ALL-I = up to 1,000Mbps, IPB = up to 340Mbps, three user-definable ‘Picture Styles’, six adjustable (2.9%), centre-weighted average and E-TTL II auto IPB Light = up to 170Mbps). 4K UHD at 3,840x2,160 ‘Picture Style’ parameters (Sharpness – Strength, flash. Metering range is EV -3 to 20 (ISO 100). pixels; 30, 25 and 24fps at 16:9 aspect ratio (ALL-I = Sharpness – Fineness, Sharpness - Threshold, Con- Exposure Modes: Continuously-variable program up to 470Mbps, IPB = up to 120Mbps), IPB Light = trast, Saturation and Colour Tone), B&W filter effects with shift, shutter-priority auto, aperture-priority up to 170Mbps). 4K UHD at 3,840x2,160 pixels; 120 (Yellow, Orange, Red, Green), B&W toning effects auto, ‘Scene Intelligent Auto’, ‘Flexible Priority’ auto, and 100fps at 16:9 aspect ratio (ALL-I = 1,880Mbps). (Sepia, Blue, Purple, Green), Clarity adjustment (plus/ metered manual, E-TTL II auto flash. Full HD at 1,920x1,080 pixels; 60 and 50fps and minus four steps), focus bracketing (up to 999 frames), Shutter: Electronically-controlled vertical travel focal 16:9 aspect ratio (ALL-I = up to 230 Mbps, IPB = up flicker detection/correction, HF flicker detection/cor- plane type, 30-1/8,000 second plus ‘B’ and flash sync to 90Mbps, IPB Light = up to 50 Mbps). Full HD at rection, intervalometer (up to 99 frames or unlim- to 1/200 second. Exposure compensation up to +/-3.0 1920x1080 pixels; 30, 25 and 24fps and 16:9 aspect ited frames), grid guides (choice of three), highlight EV in either 1/2 or 1/3 stop increments. Sensor-based ratio (ALL-I = up to 135Mbps, IPB = up to 45Mbps, IPB warning, ‘Exposure Simulation’ display, dual-axis level shutter, 30-1/64,000 second plus ‘B’ and flash sync up Light = up to 28Mbps). Full HD at 1,920x1,080 pixels; indicator, real-time histogram, long exposure noise to 1/180 second. ‘Electronic first curtain’ shutter, 30- 120 and 100fps at 16:9 aspect ratio (ALL-I = 470Mbps). reduction (Auto, On, Off), high ISO noise reduction 1/8,000 second and flash sync up to 1/250 second. MP4 format (H.264 MPEG-4 AVC compression, 8-bit (Low, Standard, High), multi-shot noise reduction Flash: No built-in flash. External flash units sync via colour) – 4K DCI at 4,096x2,160 pixels; 60 and 50fps (four frames), ‘Highlight Tone Priority’ dynamic range hotshoe or PC terminal. ‘Advanced Accessory Shoe’ at 17:9 aspect ratio (ALL-I = up to 1,000Mbps, IPB = expansion processing (Disable, Enable, Enhanced), provides both power and communications for dedi- up to 340Mbps, IPB Light = up to 170Mbps). 4K DCI ‘Auto Lighting Optimiser’ settings (Low, Standard, High, cated accessories. at 4,096x2,160 pixels; 30, 25 and 24fps at 17:9 aspect Off), in-camera lens corrections (Peripheral Illumina- Viewfinder: 1.27cm OLED-type EVF with 5.76 million ratio (ALL-I = up to 470Mbps, IPB = up to 170Mbps, tion, Distortion and ‘Digital Lens Optimiser’), multiple dots resolution and 120fps refresh rate. Coverage = IPB Light = up to 85Mbps). 4K DCI at 4,096x2,160 exposure facility (up to nine shots with Additive/Aver- 100% vertical/horizontal. Magnification = 0.76x (50mm pixels; 120 and 100fps at 17:9 aspect ratio (ALL-I = age/Bright/Dark exposure adjustments), multi-shot lens at infinity). Eyepiece strength adjustment built-in. 1,880Mbps). 4K UHD at 3,840x2,160 pixels; 60 and HDR capture (Auto, +/-1.0, +/-2.0, +/-3.0 EV) with auto Adjustable for brightness (five levels) and colour bal- 50fps at 16:9 aspect ratio (ALL-I = up to 1,000Mbps, image align and ghost correction, customisable ‘My ance (Warm Tone, Standard, Cool Tone 1, Cool Tone 2). IPB = up to 340Mbps, IPB Light = up to 170Mbps). Menu’ (up to five pages), in-camera editing func- 8.01cm TFT LCD monitor with 4.15 million dots resolu- 4K UHD at 3,840x2,160 pixels; 30, 25 and 24fps at tions (Photobook Set-Up, RAW-to-JPEG conversion, tion, tilt/swing adjustments and touch screen controls. 16:9 aspect ratio (ALL-I = up to 470Mbps, IPB = up HEIF-to-JPEG conversion, DPRAW Processing, Image Adjustable for brightness (seven levels) and colour to 120Mbps), IPB Light = up to 170MBps). 4K UHD at Copy, Print Order, Cropping, Resize), slide show (with tone (Warm Tone, Standard, Cool Tone 1, Cool Tone 2). 3,840x2,160 pixels; 120 and 100fps at 16:9 aspect adjustable display time and transition), auto image Colour tone for EVF and monitor can be fine-tuned. ratio (ALL-I = 1880Mbps). Full HD at 1,920x1,080 rotation, 4/9/36/100 thumbnail displays, side-by- Auto/manual switching between EVF and monitor. pixels; 60 and 50fps and 16:9 aspect ratio (ALL-I = side two image display, zoom playback (up to 10x), Additional Features: Magnesium alloy bodyshell up to 230Mbps, IPB = up to 90Mbps, IPB Light = up voice memo recording, copyright information, IPTC with weather sealing and insulation for subzero tem- to 50Mbps). Full HD at 1,920x1,080 pixels; 30, 25 and information, auto power-off (adjustable duration), WiFi peratures down to -10 degrees Celsius, auto exposure 24fps and 16:9 aspect ratio (ALL-I = up to 135Mbps, (2.4 and 5GHz bands) and Bluetooth V5.0 LE wireless bracketing (over two, three, five or seven frames, up IPB = up to 45Mbps, IPB Light = up to 28Mbps). Full HD connectivity, built-in GPS receiver (GPS, GLONASS and to +/-3.0 EV adjustment), depth-of-field preview, AE at 1,920x1080 pixels; 120 and 100fps at 16:9 aspect QZSS), DPOF and PictBridge compliant. Compatible lock, bulb timer (up to 99 hours, 59 minutes and 59 ratio (ALL-I = 47Mbps).Stereo sound recording with with optional WFT-10 wireless transmitter. seconds), dual-mode self-timer (two or ten second auto/manual levels, attenuator and wind filter. Stereo Power: One rechargeable 10.8 volt, 2,700 mAh delays), audible signals, wireless (IR) remote control, audio input and headphone output provided. lithium-ion battery pack (LP-E19 type). In-camera wired remote control, silent shutter mode, 34 custom Video Features: Canon C-Log gamma profile, HDR charging possible via USB. functions, shutter closes to protect sensor when the PQ movie mode, uncompressed output (4K DCI/UHD Dimensions (WxHxD): body only = 150.0x142.6x87.2 camera is switched off. and Full HD, 10-bit or 8-bit 4:2:2 YCbCr colour) via mm. HDMI connection with simultaneous recording to a Weight: 822 grams body only (without battery pack DIGITAL SECTION memory card (8-bit 4:2:0 colour), electronic image or memory card). Sensor: 24.1 million pixels (effective) stacked BSI stabilisation (Enabled, Enhanced, Disabled), time code Price: $8,599 body only. Purchases in Australia from CMOS with 36.0x24.0 mm area and 3:2 aspect ratio. support (with drop-frame correction), time-lapse an authorised Canon Australia reseller are backed by Optical low-pass filter retained. Sensitivity equiva- movie mode, auto flicker detection and correction, a five year warranty. lent to ISO 100-102,400 (expandable to ISO 50 and ‘Movie Servo AF’, ‘8K Frame Grab’ (for 35.4MP stills Distributor: Canon Australia Pty Ltd, telephone 1800 204,800). at 30fps), ‘4K Frame Grab’ (for 8.3MP stills at 30fps), 021 167, www.canon.com.au Focal Length Increase: None. focus peaking display. Formats/Resolution: 10 JPEG compression set- Recording Media: Dual memory card slots – one 37

LEICA M11 Keeping The Faith much easier to make the most of these characteristics within the context of a LEICA M11 digital camera in 2022. Importantly, on the outside, the M11 looks pretty much It’s been quite a challenge to balance tradition and technology like the last couple of digital models in Leica’s digital rangefinder cameras. The M11 is more that have gone before it with a clear contemporary than any previous model, but still manages to visual link to the 35mm dynasty, but on maintain its unique character. the inside it’s a different story. In fact, enough has changed for Leica to tag the REPORT BY How do you keep an iconic it is a Leica M camera. Beyond the M11 “A Legend Reinvented”, but how PAUL BURROWS camera relevant in the age of full prestigious plaything though is a far can you go before you start to mess automation and AI smarts, when its camera with serious intent, ideally with that legend? 38 origins date back to the all-mechanical, suited to quite a number of applications all-manual 1950s era? Leica knows where the RF viewfinder is still boon, Traditional Views that its digital M-series cameras can’t allied by the capacity to work quietly compete with the latest developments and unobtrusively… which is where What are the non-negotiables for a in mirrorless – it has the SL system for the digital functionality can be truly Leica M camera? Well, as already noted, this – but they do need to offer some complimentary. It’s interesting – possibly it has to start with the combined modern conveniences and benefits. The even a little ironic – that the digital viewfinder and rangefinder that was the rangefinder is obviously the essential technologies make the Leica M even triumph of the M3 when it launched in ingredient of a Leica M camera and, in better suited to the roles for which the 1954. The ‘M’ model designation actually turn, it dictates the classic design, but original 35mm cameras, starting with stands for 'messsucher' – yes, there are after this it’s a case of determining how M3, were primarily intended. three esses – which is the German word far it's possible to go in terms of digital for the integrated finder. So you couldn’t technologies without compromising The M11 is probably as much as really change this element could you? traditional values. It looks easy on paper, Leica can achieve within the constraints but history – from the M8 onward – has of the existing mechanical platform Leica’s way around it has been proven that it's not. without turning it into something else, to add live view and then expand its It’s a given that some people will but it's also the best interpretation of functionality which, in the past, has be buying a Leica M camera because the brief. It’s still solidly grounded in the created a camera with a bit of a split Leica M fundamentals, but it’s now also personality… the ‘LV’ camera and the ‘OF’ camera. The M11 does more to bring the two together to create a more cohesive experience. Another essential aspect of a Leica M camera is unquestionably the build quality and here too, the M11 embodies at least one major revision. You can actually choose how much tradition you’d like because the black-finish camera has aluminium top and bottom covers while the silver version has brass… the material used on most of the 35mm cameras. It won’t cost you any extra, but it bumps up the weight by 110g or nearly 20%. Both versions have a one-piece magnesium alloy body. In the film days, the Ms loaded through the base as Leica believed that a conventional side-hinged film back compromised the overall integrity of the body. The detachable baseplate was retained into the digital era, which some saw as a nice link with the past but, in reality was entirely unnecessary… so it’s gone now. The M11 adopts a battery compartment arrangement like that on the SL-series bodies, so the compartment cover is actually part of the battery and unloading is a two-stage process. A locking lever

LEICA M11 releases the pack, but it won’t drop out Externally, the that helps overall sensitivity as more The M11 is of the compartment until you press on M11 is hard to space is available for collecting light, probably as the cover slightly which depresses a distinguish from more specifically at the edges and much as Leica can spring-loaded lug, enabling the battery the previous M10 corners of the sensor where the light achieve within the to be fully withdrawn. The single slot and M10R. Silver hits at very acute angles. constraints of the for SD memory cards – now with UHS- version retains existing mechanical II speed support – is housed in the traditional brass The Leica M cameras had a very platform without turning battery compartment, but the M11 is top and bottom short flange back distance before it it into something else.” also equipped with a useful 64GB of plates; the black became ‘fashionable’ in the mirrorless internal memory – a way of providing a camera uses era, a key attraction of the rangefinder have a 28mm lens fitted – as is fixed ‘virtual’ second memory card without lighter-weight camera over the reflex. As with on the Q2 – these crops correspond some costly re-engineering. Mind you, aluminium. mirrorless cameras, it’s a key reason to 35mm and 50mm. Alternatively, you of course, a USB (Type C) port has had why the M-system prime lenses have can have 36MP or 18MP resolutions to be added to allow direct access to always delivered such superlative without a crop (so there’s no increase the internal memory. You can transfer image quality. However, many were in lens focal length either), the camera files between the memories or record originally designed for film – which instead groups sets of pixels together. images simultaneously, plus there are This means that you also get an the usual file management options was never perfectly flat – and so increase in dynamic range – Leica that you’d find on a camera with dual imaging sensors have presented claims a whole stop – and a reduction card slots. The new baseplate design challenges… which are further in noise equivalent to two stops. Both also means that you may now be magnified with an ultra-high these functions are available with either able change the memory card when resolution device. The BSI JPEG or RAW capture and, in the case the camera is mounted on a tripod… architecture helps ensure a of the crops, the full size image is still although this will depend on the design better uniformity of sensitivity recorded with the latter (i.e. the crop is of the quick-release plate as some still across the surface, and there’s only tagged in the metadata for when get in the way (Manfrotto’s hexagonal also an ultra-thin dual-layer the file is processed post-camera). fitting, for example). IR/UV filter glass designed to ensure all acute-angle light rays The M11’s Maestro III processor does The USB-C port adds the pass through rather than being the number-crunching for what Leica convenience of in-camera battery reflected, thereby enhancing both is calling ‘Triple Resolution Technology’, charging. Incidentally, the battery itself corner sharpness and colour and another advantage of the smaller is a new and much higher-capacity reproduction. file sizes is much longer bursts lengths. lithium-ion pack – the 1,800mAh With 60MP on tap, Leica has The buffer memory is now 3GB, which BP-SCL7 – that’s claimed to be good taken the opportunity to offer allows for up to 100 large JPEGs in a for up to 700 shots. a couple of options for utilising sequence at 60.3MP, but you essentially lower-resolution settings. As on Maxing The Megapixels the Q2, there are 1.3x and 1.8x 39 crops delivering 39MP and 18MP For the record, the M11 is the respectively (and, of course, a sixth-generation digital Leica commensurate increase in the M. After the M8 came the first full-frame model, the M9, which lens’ effective focal length). If you was launched in 2009 and is fast becoming a classic Leica in its own right. It was followed by the Typ 240 and Typ 260 – both were simply badged ‘M’ – and then the M10 that arrived in early 2017, introducing a restyled and slimmer body along with increased digital functionality. The M11 – which, for the record, has the Typ number 2416 – keeps the same basic body as the M10, but has an all-new sensor that steps up in effective resolution to 60.3MP (compared to the M10’s 24MP and the M10-R’s 40MP). It’s a BSI-type CMOS imager

LEICA IN DETAIL M11 Discreet model number marked on get unlimited continuous shooting at hybrid ‘electronic first curtain shutter’ one of the hotshoe 36MP, which still delivers a file size option that uses the sensor to build rails is the only suitable for lots of applications. the exposure, but ends it with the way to definitively mechanical shutter. identify a digital M. In The Zones When it comes to exposure control, The optical For the first time since the launch of the M11 continues with the choice of viewfinder the M6, the M11 doesn’t have an old- either aperture-priority auto or manual with integrated school metering system, instead uses modes; the former with up to +/- 3.0 rangefinder a dedicated cell that reads light EV of compensation or auto bracketing focusing has been at reflected off the front of the shutter over three or five frames. You can the heart of a Leica blades (originally called ‘off-the-film’ or combine the two to give up to six stops M camera since OTF metering). of either under- or overexposure. The the M3. It seems traditional centre-weighted average very unlikely it will The M6 has horizontal-travel cloth metering is available (again using ever be replaced by shutter curtains (as does the M7), the imaging sensor), and timed long an EVF… although so the metering works off a 12mm exposures of up to eight minutes are perhaps a hybrid diameter white spot painted onto the delivered by the mechanical shutter arrangement like front surface of the first curtain. Leica (the sensor shutter’s slowest setting that on the Fujifilm switched to a vertical-travel metal- is 60 seconds). There are both the ‘B’ X-Pro cameras bladed shutter from the M8 onward, and ‘T’ settings which allow for an might be so the metering’s 18% reflectance exposure time of up to 60 minutes… an option. was achieved by painting some of the and a traditional cable release socket is blades pale grey. The M11 now uses the retained in the shutter release. Leftover from imaging sensor exclusively for exposure the film days, metering, which means that multi-zone Finding And Focusing the traditional and spot measurements are available detachable when using the optical finder as well as The unique aspect of the Leica M baseplate is gone in live view. Switch off the camera and experience today is the viewfinder and and the battery now remove the lens and you’ll see all the it’s been ‘no blackout’ forever, although incorporates the shutter blades are now black. the biggest attraction is the ability to compartment cover, see what’s happening outside the image and clips in and out In order to enable metering at all frame. With street photography, for in the same way as times, the mechanical shutter opens example, this allows you to anticipate a on the SL bodies. immediately when the camera is shot as the scene unfolds before you. switched on, then closes just prior to ISO dial is lifted to an exposure being made – like on any The M11’s finder is unchanged from facilitate changing mirrorless camera today. And just like the M10 series, so it has the wider settings. The ‘M’ any current mirrorless camera, the field-of-view introduced with the first position can be M11 now has the option of using an model and the increased magnification assigned to any electronic shutter. This may come as a of 0.73x. It also has automatic parallax settings beyond shock to the purists, but it delivers the correction and three sets of LED ISO 6400, while the benefit of a much faster top shutter brightline frame pairs that automatically ‘A’ engages a preset speed – 1/16,000 second compared activate when a lens is fitted – 35mm auto range. to the mechanical shutter’s 1/4000 and 135mm, 28mm and 90mm, and second – and is completely silent in its 50mm and 70mm. A lever on the front operation. The digital Ms have never of the camera allows for the brightline been particularly noisy cameras, but in pairs to be previewed to help with a very quiet setting, you can certainly determining framing. hear the mechanical shutter firing. If you want to use flash, there’s the Focusing is achieved via a double- image rangefinder with an effective Even if you’ve base length of 50.6mm. The longer the never used RF base length, the easier it is to focus rangefinder focusing precisely, and 50.6mm is comparatively before, it’s not hard long so, if you’re a first-time user, you’ll to get good at it very likely be surprised at both the speed quickly.” and accuracy. Obviously, it’s nothing like the AF systems in a current mirrorless 40 camera, but it’s very easy to master and allows for very fine control. However, there are drawbacks with the RF viewfinder as well. For starters,

LEICA M11 it’s non-TTL – hence the need for parallax magnified-image assist, various replay/review THE MENUS correction – and things get tricky with longer functions and operation of the main info focal length lenses when the image frame display, which also serves as a control panel. Monitor-based control panel provides quick access to is very small. This is where live view comes This provides direct access to exposure a range of functions and settings, and now offers the into its own, delivering a TTL image that fills compensation and a total of 12 functions, added convenience of touchscreen controls. the screen and delivers all the features you’d including metering modes, white balance, find on a contemporary mirrorless camera, image quality settings and the drive modes. Film Style profiles for JPEGs are inherited from the including a much more detailed info display. In practice, this panel allows you to do Q2 and SL2. In the optical viewfinder there’s just a LED everything you’re likely to need to do when shutter speed read-out (or exposure indicators shooting in the field. ‘The addition of an electronic shutter gives the M11 in the manual mode), but in live view you an extended range of faster speeds and totally silent can check the shutter speed, ISO, exposure While successive digital Ms have offered shooting. mode, compensation, metering pattern, white increasingly more goodies, Leica is still erring balance, image quality setting and even the on the side of restraint, so the M11 still really Live view screen elements include a dual-axis level lens details. Better still, to assist with focusing only offers the basics when it comes to display, guide grids and (not shown here) a real-time there’s both a magnified image – at either in-camera processing for JPEGs. However, as histogram. 5x or 10x – and a focus peaking display in a on the SL and Q series cameras, there’s now choice of four colours at two sensitivity levels. five Film Style presets labelled Standard, Vivid, 41 New on the M11 is live image stabilisation Natural, Monochrome and Monochrome High that kicks in with the magnified image section Contrast. The colour settings are adjustable to keep it steadier, and it does make it much for contrast, sharpness and saturation; the easier to use. B&W ones for just the first two. You can also adjust the noise reduction for JPEGs over three You can also add a real-time histogram, settings and, as noted earlier, there are now highlight warning (with adjustable peaking), a three image size settings (as is also the case guide grid (either 3x3 or 4x6) and a dual-axis with RAW DNG capture). While the purists are level indicator. If you don’t want everything again probably needing a little lie down, these going on at once, up to four ‘Info Profiles’ can additions simply add to the camera’s overall be created and you then simply cycle through useability without compromising the traditional them to see what you need. Leica M experience in any way. When you select one of the crop settings In The Hand – Leica calls them ‘Digital Zoom’ settings – the camera automatically switches to live The key elements to this experience remain view and an image frame appears. The LCD the rangefinder focusing and the exposure screen is, as always, fixed – Leica believes control via shutter speed dial and aperture adjustable panels compromise the integrity collar… or just the latter in the semi-auto of the build quality – but the resolution is exposure mode. The solidity of the build is also increased to 2.33 million dots. It’s protected a big part of using a digital M camera, and our by a toughened Corning Gorilla glass faceplate test silver M11 with its brass body covers and and is adjustable for brightness, now over 11 the Summilux-M 35mm f/1.4 ASPH lens tipped levels with the option of an auto adjustment the scales at close to a kilo. (based on the ambient lighting conditions). There’s also an Exposure Preview mode that It certainly feels heavy in the hand, but does what it says on the tin, and can be not excessively so, and as we always note set to operate continually or only when the when reviewing a digital Leica M, you don’t shutter release is pressed to the halfway (i.e. seem to miss the absence of a handgrip. It’s metering) position. Live view is obviously still comfortable and well balanced, but it’s also handy when using lenses wider than definitely designed for a two-handed grip… 21mm – of which there are quite a few from the palm of the left hand providing added both Leica and others – although there is the support while the thumb and forefinger optional EVF that fits to the hotshoe. A new operate the lens controls. On the camera Visoflex 2 model arrives with the M11 and body, the external controls really are kept to has a resolution of 3.69 million dots, plus the bare minimum. There are dials for shutter it’s adjustable for tilt, which makes it more speed and ISO settings on the top panel, plus comfortable to use in many situations. the return of a multi-function button alongside the shutter release. The lift-to-set ISO dial is More… But Still Less marked from 100 to 6400 with an ‘A’ position for accessing a preset auto range and an ‘M’ As before, the monitor’s touchscreen position that can be assigned any setting you implementation is limited and primarily allows like from across the full sensitivity range. The for position of the focusing point for the auto ISO control can be preset to either a

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LEICA M11 TEST IMAGES Shutter speed dial has half-stop incremental settings. ‘B’ position accesses long exposure durations of up to 60 minutes. Test images captured as Shutter release retains a cable release socket. JPEG/large files with Leica Function button alongside returns. Summilux-M 35mm f/1.4 ASPH and Voigtländer maximum ISO setting or a maximum exposure time. (although it requires a dedicated cable). Bluetooth 12mm f/5.6 Ultra Wide At the M11’s rear is a four-way navigator keypad, ‘always on’ wireless connectivity is also available. Heliar lenses. Definition and detailing are superb, an input wheel with a press-in action that serves Speed And Performance as is the smoothness of as another multi-function control, and a trio of keys the tonal gradations. accessing the menu system, image replay and a With a Panasonic 64GB SDXC UHS-II V90 speed third multi-function option. These three are your lot memory card loaded and using the electronic shutter, Photographer Peter as far as control customisation goes, but you can the M11 captured a burst of 50 JPEG/large frames in Adams in his library, assign anything to them so they can become handy 11.151 seconds, which works out at 4.48fps. The test Katoomba, NSW. for on-the-fly settings such as ISO, white balance files averaged 27.6MB in size. and metering mode. As noted earlier, there’s also Viken Minassian in his the monitor-based control panel for accessing these At this point in a camera test, we usually consider record and hi-fi shop, functions too, but you can set up the M11 to function the autofocusing performance, but with the M11, Blackheath, NSW. entirely ‘old school’ if you wish. The menu system getting sharp images is all down to you. Even if runs to just five pages, so nothing is hard to find, you’ve never used rangefinder focusing before, it’s Ceramicist Simon Reece and it’s been slightly revised compared to the M10 not hard to get good at it very quickly, the main in his studio, models so it’s more logically arranged. Consequently, limitation being that it’s in the centre of the frame, so Blackheath, NSW. the Favourites setup – which is essentially a My the trick is to focus first compose second. However, Menu feature – is now where it should be... under you can switch to live view and use either the ‘Customise Control’. The number of User Profiles – magnified image or the focus peaking display, both of which are used to store a preferred camera setup – which operate over the full frame. has increased from four to six. It’s a mark of the optical performance of the Leica As noted earlier too, the M11 has a USB-C M-mount lenses, that 60MP resolution is well within connection – set in the base alongside the battery their resolving power, even the older models. The M11 compartment – that delivers the conveniences of offers a lot more options for determining the look in-camera battery recharging, direct access to the of JPEGs, but the Standard profile still delivers the internal memory and a wired connection to an Apple classic Leica contrastiness and true-to-life colours. iPhone (or iPad) for remote camera control, image The full resolution delivers exceptional detailing with transfer and a live view feed using the Leica Fotos super-crisp definition and exceptionally smooth tonal app. Of course, you can do this via Wi-Fi – and the gradations. However, even at the lower resolution M11 has both the 2.4GHz and 5GHz bands – but the settings, thanks to the pixel binning approach, hard-wired route will be quicker and more stable the image quality doesn’t suffer unduly and the definition benefits from the reduction in noise while The digital technologies the increased dynamic range is most noticeable the make the Leica M shadows. You can, of course, now tweak the colour even better suited to the roles saturation like normal people and we found that for which the original 35mm the Vivid profile provided a very pleasing overall cameras, starting with M3, were reproduction without overdoing things. primarily intended.” The high ISO performance is significantly improved over that of the M10 models, and the noise reduction processing balances sharpness and saturation very nicely up to ISO 12,500. There’s some noticeable chroma noise at ISO 25,000, but this setting is still useable if you aren’t planning to make very big 43

LEICA M11 enlargements. Surprisingly, though, everything exposure, it’s worth noting that the availability of professional users decline quite markedly. Now, falls off a cliff at ISO 50,000, which is very, very the on-sensor multi-zone metering when using with the SL mirrorless system and the last noisy indeed… much more than you’d expect the optical finder – which measures across the couple of digital M bodies, professionals are given the quite acceptable performance at a entire frame – greatly improves the accuracy, returning, particularly as reliability and stop lower. The RAW files clean up reasonably especially in contrasty lighting. durability have been the one constant, com- well with post-camera noise reduction, but the bined with the increased digital highest ISO setting is pretty much off-limits The Verdict functionality and overall usability, when shooting JPEGs. Leica 35mm cameras were originally designed The bling is still there with the many and The wide dynamic range delivers excellent with the wear and tear of professional use various limited edition M cameras – clearly a exposure latitude when shooting in RAW, either primarily in mind. Then they began to evolve good money-spinner for Leica – but the M11 for increasing detailing in the highlights or the more into prestige products – the M line in is much more of a working tool once again. shadows… or even both. And, on the subject of particular – which saw the percentage of The addition of features such as the electronic TEST IMAGES ISO RANGE Noise is very well managed up to ISO 12,500 and although some chroma noise is evident at ISO 25,000, this setting is still useable. Not so with ISO 50,000 which is surprisingly noisy. These images are JPEG/large files taken in the aperture-priority auto exposure mode with the aperture set to f/11, so the exposure time varies to compensate for the ISO adjustments. ISO 64 ISO 100 ISO 200 ISO 400 ISO 800 ISO 1600 ISO 3200 ISO 6400 ISO 12500 ISO 25000 ISO 50000 44

LEICA M11 shutter, touchscreen controls, enhanced many occasions. connectivity via USB-C, the uncropped If anything, with the M11, Leica has lower-res settings, and increased in-camera processing options for JPEGs, actually enhanced the enjoyment factor, all make the M11 much more of a perhaps simply because it is the more well-rounded package. Aside from all complete and capable package than any of its predecessors. There’s still the the metering being sensor-based, traditional experiences of manual focus you can still set up the M11 to and manual aperture control, along work in an entirely traditional with the distinctive Leica M ‘heft’, but way with manual exposure there’s now more ways to better utilise control and relying entirely on everything… and more efficiently too. the rangefinder for focusing. However, all the additional In many ways then, the M11 more capabilities of live view shooting effectively embodies the true essence will inevitably prove useful on of the Leica M in that all the elements of its design are, above all else, about the Hotshoe has connections for fitting a clip-on process of making a photograph, and any EVF. The new Visoflex 2 has a resolution of 3.7 other considerations are secondary. It’s million dots and also upgrades to a metal body. the way it should be. SPECS LEICA M11 $13,000 *body only, recommended retail Type: Coupled rangefinder digital camera with (3.69 million dots resolution) attaches via the presets, one custom setting and manual colour interchangeable lenses using Leica M-bayonet hotshoe. temperature setting (2000 to 11,500 Kelvin). mount (with contacts for 6-bit coding for lens Flash: No built-in flash. External flash units Interfaces: USB Type C and flash hotshoe. ID). sync via hotshoe. Additional Digital Features: Live view, inter- Focusing: Manual via double-image range- Additional Features: Diecast magnesium valometer, five ‘Film Style’ presets (Standard, finder in viewfinder. RF base length is 69.31mm bodyshell sealed for dust protection and Vivid, Natural, Monochrome and Monochrome (effective base length is 50.6 mm). Focusing in shower proofing (silver version has brass top High Contrast), adjustable ‘Film Style’ param- live view assisted by a magnified image (5.0x or and bottom panel, black version has alu- eters (Contrast, Sharpness and Saturation), 10x, with image stabilisation) or focus peaking minium), auto exposure bracketing (over three real-time histogram in live view, highlight/ display (red, green, blue or white, and high or or five frames, up to +/-3.0 EV adjustment), AE shadow warnings in live view, guide grid in low sensitivity). lock, dual-mode self-timer (two or 12 second live view (choice of 3x3 or 6x4), dual-axis level Metering: TTL using the image sensor (with delays), audible signals, auto power off, cable indicator in live view, automatic long expo- both RF and LV) with multi-zone, centre-weight- release socket. sure noise reduction, user-defined custom ed average or spot measurements, and TTL ‘Favourites’ menu, four ‘User Profile’ memo- flash metering using the imaging sensor with DIGITAL SECTION ries, battery power level display, card/internal centre-weighted average measurements. Sensor: 60.3 million pixels (effective) CMOS memory space displays, brightness histogram Exposure Modes: Aperture priority auto and type with 23.9x35.8 mm imaging area. No opti- with playback, adjustable image review time, metered manual. cal low-pass filter. Sensitivity equivalent to ISO 12/20 thumbnail displays, playback zoom, Shutter: Electronic focal plane, vertical travel, 64-50,000. copyright information, Wi-Fi (2.4 or 5.0 GHz) and metal blades. 480-1/4000 second plus ‘B’ and Focal Length Increase: None. Bluetooth LE wireless connections, Apple MFi ‘T’ (up to 60 minutes). Flash sync up to 1/180 Formats/Resolution: Three JPEG resolution support via USB-C (requires dedicated cable). second. Sensor shutter has a speed range of settings; 9504x6320, 7392x4896 and 5248x3472 Power: One 7.4 volt, 1800 mAh rechargeable 60-1/16,000 second. Exposure compensation of pixels. Three RAW (Adobe DNG) resolution set- lithium-ion battery pack (BP -SCL7 type). In- up to +/-3.0 EV in 1/3-stop increments. tings; 9528x6328, 7416x4928, 5272x3498 pixels. camera charging available via USB-C. Viewfinder: Optical with automatic parallax RAW+JPEG capture. 24-bit RGB colour for Dimensions (WxHxD): 139.0x80.0x38.5 mm. correction and LED exposure read-outs. LED JPEGs, 42-bit RGB colour for RAW DNG files. Weight: Silver = 565 grams, black = 455 grams brightline frames are automatically switched Recording Media: One slot for SD/SDHC/ (body only without battery pack) between 35mm/135mm, 28mm/90mm and SDXC memory cards. UHS-II speed support. Price: $13,000 body only. Black or silver body 50mm/75mm when the lens is attached. 0.73x Internal memory has 64 GB storage capacity. colours. magnification. Fixed 7.5 cm LCD monitor (2.3 Video Recording: No video recording capabili- Distributor: Leica Camera Australia Pty Ltd, megadots resolution) with manual/auto bright- ties. telephone (03) 9248 4444 or visit https:// ness control, ‘Exposure Preview’ mode and Continuous Shooting: Over 100 JPEG/large au.leica-camera.com scratch-resistant ‘Gorilla’ glass faceplate. Op- frames at 4.5 fps or 15 RAW files. tional Visoflex 2 electronic viewfinder module White Balance: Auto correction with eight 45

A FEW OF MY Stu Spence loved surfing at FAVOURITE THINGS Bondi until he got sick of people dropping in on him, STU SPENCE so he started swimming at the Icebergs club and What do professional photographers get up to when that started getting really they’re not behind the camera? We take a look at the competitive. Stu isn’t a fast swimmer, so personal side of a photographer’s life as expressed through people started swimming over him while some of the things they value the most. In this issue, Stu he was doing his laps. Then Stu discovered Spence – whose career has included everything from fashion a non-combative club at Watsons Bay, to fine art – reveals some of his personal treasure in a much- 7.7km to the north of Bondi, and from here loved location. he came across Camp Cove nestled on the harbour-side of South Head. AS TOLD TO BRUCE USHER From his prone position on the old 46 Camp Cove wharf – where we’re shooting the picture for this article – Stu says, “Behind me is an old tide gauge station from the early 1900s. It’s very special for me because I’ve just made a film here”.

INTERVIEW A FEW OF MY FAVOURITE THINGS Stu Spence Stu started to photograph artist and walk into the house and it was lined with To get so much photographed musician Peter O’Doherty’s paintings in his paintings everywhere and I guess the soft into so little and at Camp studio in 1994, and Peter would pay him in edges made sense to me. Peter was the leave so much for Cove Tide paintings. The painting Landscape Of The bass player in Mental As Anything and, with interpretation. It’s Gauge Station Bay reminds Stu of a bay in New Zealand, his brother Chris – a.k.a. Reg Mombassa an absolute art wharf, Sydney Peter O’Doherty’s birth country – has been playing in a band called Dog form that I aspire Harbour Trumpet. It’s been around for 25 years and to when writing National Park, “It’s got such a mood,” Stu observes. “It is possibly my favourite Australian band… captions for my Watsons Bay, may have been a pre-painting, but I fell in wonderfully funny icons.” images.” by Bruce Usher. love with it and, if the house was burning Copyright 2022. down, I would run in and get it.” In front of Stu’s surreal little O’Doherty West is West and never the twain painting is his Luna Park Head that he shall meet.’” Peter O’Doherty was a big inspiration bought over the counter from Mitchell behind the ‘soft edges’ style of photography Road Auctions in Alexandria around It also reminds Stu of the old Raffles that Stu has been doing for the last 15 or 1996. There are different versions of its Hotel that he stayed in – the Rudyard so years. provenance he tells me. “One is that it was Kipling suite – while on a fashion shoot in a prize at Coney Island in Luna Park, but the early 1980s. The Mode magazine team “O’Doherty doesn’t see the world I could have made that up. The other is was shooting furs in Singapore, so shooting sharp-edged and neither do I,” Stu that it is German. There is something very started at 4.30am before it got too hot. comments. “I guess it happened by osmosis Germanic about this. I love the skin tones – being a friend of Peter and frequently and the strange head, the artist has a style Stu’s favourite book is Franny and Zooey photographing his paintings. You would of his or her own, but it’s definitely got by the American author J. D. Salinger something to do with Luna Park.” which comprises his short story Franny and the novella Zooey. The two works Stu says that his parents never took him were published together as a book in to circuses which is why, he thinks, he has 1961, having originally appeared in The developed an obsession with Luna Park and New Yorker in 1955 and 1957 respectively. possibly also freaks. “He is definitely a freak. I The book focuses on siblings Franny and fell in love with it because of its function… Zooey, the two youngest members of the it’s an ash tray.” Glass family who were a frequent focus in Salinger’s writings. The blue-coloured ginger pot in Stu’s right hand was given to him by his aunt Lastly, Stu extracts a book, titled The who grew up in PNG. She was given it Mysteries Of Harris Burdick. It consists of a by an old English man in his later years series of images, created by Harris Burdick, and who also lived in PNG. He was an ex- who has mysteriously disappeared. Each prisoner of war and, so the story goes, his image is accompanied by a title and a roommate was Winston Churchill. ‘Winston single line of text, which encourage readers invited this guy to escape with him,” Stu to create their own stories. Many well- relates. “But he declined, so Winston said, known writers have tried to put their own ‘I’m going to give you this ginger pot to take on the pictures. mind for me and give back to me one day because it’s important’. I don’t really know “They’re beautiful illustrations. Look at whether this is true and I take it with a grain the work in them,” Stu exclaims. “My singer of salt, but it’s a great story and my Aunt and songwriter friend Gyan Evans gave it swears blind about it. I love the mystery of to me. I’ve got Leunig, Gary Larsen and this not finding out.” one… they are my regular go-tos for spurts of inspiration.” He explains that he always We leave the Camp Cove Tide Gauge sees something different in them and is in Station wharf and walk a short distance love with both Harris Burdick’s precision up to a shaded seat in the national park, and his precise way of writing. overlooking the city in the distance, Stu tells me he has a few more things in 47 his backpack while simultaneously extracting them. “I like to pretend this is an old powder that was used in the 1800s by English people in the Far East to stop sweating,” he comments and then passes me a small container and asks me to have a smell. He bought the Prickly Heat in Thailand, but says that it reminds him of Singapore. “I’m a big fan of Somerset Maugham stories set in the Far East. ‘East is East and

SAMYANG AF 24-70mm f/2.8 FE Diving Into Yep, Samyang is now 50, but there The Mainstream are still plenty of photographers – and videographers – just discovering what SAMYANG AF 24-70mm f/2.8 FE the South Korean lens maker is capable of. It flew under the radar for quite a Clearly not afraid of competition, Samyang has pitched its while, but its manual focus primes – first autofocus zoom lens for mirrorless cameras that’s already representing massive value for money well served by a couple of direct rivals, including Sony’s own given their performance and price – offering, which is a G Master model. Game on! have earned it a loyal following among those who did discover the brand… REPORT BY With its recent string of that Samyang should take the next step often by accident. PAUL BURROWS autofocus primes – mostly for and build its first autofocus zoom lens Sony’s FE/E mount – Samyang has in the mirrorless era… and also its first Now, aided by a pro-active 48 established itself as a mainstream 24-70mm f/2.8 model. Appropriately, distributor in Australia, Samyang is contender in what is now a very it arrives in time to celebrate the stepping up against the better-known competitive market – lenses for company’s 50th anniversary of its Japanese independent brands in our mirrorless cameras. So it makes sense founding in 1972. market, and the seemingly never-ending parade of new Chinese lens makers. Many of the latter are also competing mostly on price, but Samyang also now has a solid reputation for both optical performance and excellent build quality behind it. Both are very evident in the AF 24-70mm f/2.8 FE, which is almost Zeiss-like in its heft – it’s a weighty beast at a shade over a kilogram – and the precision of the fit and finish. It looks expensive, so the $1,499 price tag is a pleasant surprise especially when Sony’s own FE 24-70mm f/2.8 G Master model is $2,999. The A-mount Zeiss Vario-Sonnar 24-70mm f/2.8 ZA SSM zoom is now discontinued, but when you could buy one, it would set you back $2,699. Probably a more interesting price comparison is with Sigma’s 24-70mm f/2.8 DG DN Art, which current has a recommended retail of $2,099. If you were thinking of buying something other than the ‘house brand’ Sony 24-70mm standard zoom, the Sigma would almost certainly be on your shopping list… and so should the Samyang. In The Hand At 1.027kg, it feels like a lot of lens in your hand and the external construction comprises all-metal barrel tubes with a stainless-steel lens mount. The weather sealing comprises six internal seals and a beefy rubber gasket around the lens mount. The zooming collar needs a substantial shove to get it moving, but this inertia also means that you’re able to be very precise with framing. There’s definitely no need for a zoom lock here. The focusing collar is fly-by-wire and, in fact, is multi-functional, its role

SAMYANG AF 24-70mm f/2.8 FE determined by the Custom Mode switch IN DETAIL other about them – that started to get on the side of the barrel. Out of the box, the brand more widely known. Also the two mode settings are for manual Custom settings historically, Samyang made a number of focus and manual aperture setting, but switch turns mid-range AF zoom lenses in the 1980s Samyang promises that more options the manual for Nikon, Pentax and Minolta 35mm will be added with future firmware focusing collar SLRs (the latter, of course, becoming upgrades… presumably similar to the into a manual Sony’s A mount). multi-function collars on Canon RF and aperture control. Nikkor Z lenses. Focus-hold Performance button can be On the inside, the Samyang 24-70mm assigned various The lens mount sports the 12 contacts zoom’s optical construction employs 17 functions as per needed to provide the full interface with elements in 14 groups, which includes Sony’s own FE Sony Alpha series mirrorless cameras. a total of nine special types to provide lenses, but also These include eye/face detection, the various types of correction. The specials offers an ‘Astro DMF (Direct Manual Focus) function that lineup comprises three aspherical Focus’ mode. provides a full-time manual override of elements – one a super-strength H-ASP the autofocusing (but obviously the type – three high refractive (HR) types Mount has control collar needs to be in manual and three with extra-low dispersion the full 12-pin focus mode). It also supports Sony’s (ED) characteristics. An interesting interface. in-camera corrections for vignetting, aspect of the optical design is that it’s chromatic aberrations and distortion, parfocal, which means that the set Weather but the lens is also very well-corrected focus doesn’t change during zooming. protection for these optically too. It’s achieved via a complex internal measures arrangement that moves the focusing include a rubber For openers, the Samyang 24-70mm group to compensate for the changes gasket around f/2.8 zoom excels in its sharpness with in image size happening with zoom, but the lens mount. the centre-to-corner uniformity well maintains a manually set focus point. maintained across both the zooming It’s a feature for videographers – and Autofocusing is via a linear stepping range and the aperture range. There is usually only found on much pricier motor (STM), another concession to a slight fall-off at 24mm and f/2.8, but cinema lenses – and Samyang is very video makers as it’s both smoother it’s truly minimal and the Samyang lens much targeting this lens at these users. and quieter. The minimum focusing undoubtedly performs competitively distance is 35cm, which is maintained here with its pricier direct rivals. In There’s also an optional cine kit across the zooming range so, at a nutshell, the zoom’s sharpness is for the lens comprising a dedicated 70mm, the magnification ratio is 1:3.7. very hard to fault and it’s also nicely follow-focus gear ring and adjuster with The minimum aperture is f/22 and contrasty without overdoing it so, the a tripod mount. To make follow focus the diaphragm has nine blades to sensor’s contribution notwithstanding, actually work, the focus collar operates give rounder, smoother out-of-focus there’s great definition with lots of linearly – in other words, the focusing effects. While Samyang now has a fairly crisply-resolved detailing. There’s real changes in relation to the angle of extensive line of dedicated cinema depth to the rendering too, and the rotation of the focus collar and not lenses, again these are all primes, smoothness of the transition from the speed at which it is turned… so so obviously the new zoom is a first in-focus to out-of-focus is the mark of the amount of focus change is always for everybody and it’s been designed high quality optics. the same. And, in the manual aperture to have appeal for both applications. mode, you get seamless adjustments Historically, it was cinematographers Vignetting is completely non-existent that are completely silent too. discovering the value aspect of – even at 24mm and f/2.8 – and lateral Samyang’s manual focus primes for chromatic aberration is very effectively Samyang is photography – and talking to each minimised. Some longitudinal (or axial) now 50, but chromatic aberration is noticeable along there are still plenty of the high contrast edges, but only when photographers – and the image is significantly magnified. videographers – just However, as far as stills are concerned, discovering what the it’s pretty effectively dealt with by the South Korean lens Sony’s in-camera corrections (we tested maker is capable of.” the lens on the A7 III). Consequently, distortion is the only area where the Samyang zoom doesn’t score a straight ‘A’. There’s some quite noticeable barrel-type distortion at 24mm, although it’s gone by 28mm to be replaced by slight pincushion- 49

SAMYANG AF 24-70mm f/2.8 FE TEST IMAGE type bending at 50mm and beyond. Of very high performance standards have course, both can be corrected post- already been set. Samyang has made Test image taken with a Sony Alpha 7 III using studio flash. camera, but there’s always some slight the grade here, and that’s very good Autofocus with manual exposure control at 1/60 second and f/16 cropping involved in the process. news for Sony Alpha shooters who at ISO 200. Uniformity of sharpness is exemplary across both the would like a premium 24-70mm f/2.8 aperture and focal ranges. Samyang’s UMC – Ultra Multi- zoom that’s not quite such a big hit Coating – anti-reflection coatings do a financially. Let’s hope Samyang spreads 50 good job of suppressing both ghosting the joy to other full-frame mirrorless and flare, but strong sunlight bouncing mounts before too long. across the large-diameter front element will require the deeply-sculpted hood SPECS that’s supplied with the lens in order to maintain contrast. This large diameter SAMYANG AF also means an 82mm screwthread 24-70mm f/2.8 FE fitting, so take a deep breath when preparing to buy, for example, a circular Format: Full frame. polariser. Mind you, in practice this is a Angle-of-View: 53.0-86.0 degrees lens that’s probably better suited to a (diagonal on full frame). 100mm filter holder system. Construction: 17 elements/14 groups. Includes one ‘H-ASP’ hybrid The Verdict aspherical element, two ‘ASP’ aspherical elements, three extra- In the past, Samyang lenses have been low dispersion (ED) glass elements, celebrated for their difference – for and three ‘HR’ high resolution a long time being only fully manual elements. primes, but very good ones optically Minimum Focus: 35 centimetres. and selling at very affordable prices. Maximum Reproduction Ratio: Now there’s a myriad of Chinese brands 1:3.7 (at 70mm). muscling in on that territory, some with Aperture Range: f/2.8 to f/22. even lower-priced products, which is Overall Length: 128.5 millimetres. probably why Samyang has decided Maximum Diameter: 88.0 mil- to move itself much more into the limetres. mainstream, first with AF primes and Filter Diameter: 82 millimetres. now with its first AF zoom for Weight: 1027 grams (without lens mirrorless. This is bringing it directly up hood). against heavy-hitters such as Sigma and Lens Mount(s): Sony FE. Tamron, as well as the camera brands Features: Weather-sealed external themselves, but the new AF 24-70mm construction, par-focal function f/2.8 FE suggests it’s everybody else (for video), custom mode switch who should be worried, not Samyang. (switches control collar between manual focus or manual aperture This is undoubtedly a premium lens selection as defaults), linear STM in terms of its construction and finish, (stepping motor) AF drive, linear and the only bum note in an otherwise manual focus collar operation, ‘Ultra exceptional optical performance is the Multi Coating’ (UMC) anti-reflection amount of barrel distortion at 24mm. It coatings, nine-blade diaphragm. won’t be an issue with subjects such as Bayonet-fit ‘petal’ lens hood sup- landscapes or even portraits, but you plied. Lens pouch supplied. will notice it if there are any straight Price: $1,499 (recommended retail). lines in a scene that are located close Distributor: Maxxum Pty Ltd, to the image edges. It’s unlikely to be telephone (03) 9314 4979, visit www. a deal-breaker given that the Samyang maxxum.com.au does everything else so well and the price tag is very hard to go past. Samyang has already made some pretty tasty AF primes in the FE mount, but the first zoom is a bold statement of intent especially as the f/2.8-speed 24-70mm leaves nowhere to hide…