Smartphones bearing dual cameras are on the rise, and MediaTek’s new Imagiq image signal processor is prepared to take advantage of them. Read more
Articles: Digital Photography Review (dpreview.com)
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Your earliest photographic habits naturally will build over time, including the ways that you name and organize your images. What seems like a small issue at first – say, keeping your camera’s default file names – could spiral out of control when you have tens of thousands of images. It can be easy to delete photographs on accident when they have the same file name, potentially deleting some of your favorite photos. Although a good backup system helps you recover a photo that has been lost, it is far better to prevent such a mistake from happening in the first place. While there is no perfect naming system, I will cover some useful tips that help you avoid duplicating the file names of your own photographs.
By default, most cameras will name their photographs in the format “DSC_1234” or “_DSC1234,” with the numbers incrementing from 0001 to 9999. At that point, the counter resets. With your ten-thousandth photograph, your file names will start to repeat.
If you do have photos with the same name on your computer, it isn’t the end of the world. Assuming that the photos are located in different folders, they won’t overwrite any data. The danger comes when you put two photographs with the same title into the same folder. Then, a warning will pop up:
If you accidentally click the “Replace” command that appears, you will lose the old file completely. This isn’t something that you can necessarily undo; once a photo has been overwritten, it may be gone for good. (You can try right-clicking on the photograph outside of Lightroom, then clicking “Previous Versions.” However, this does not always work – particularly if it takes you a few weeks or months to realize that you even replaced the file in the first place.) At this point, if you don’t have a good backup system, you might have lost the image for good.
If you already have duplicate file names on your computer, you need to rename all of your old photos. Luckily, this is easy to do as a batch. Almost all post-processing software, like Lightroom or Capture One, lets you rename multiple images at the same time. I will focus on Lightroom below, but these suggestions should work for most any workflow.
The first step is to highlight every single photograph that you want to rename. To do this, go to the parent folder that holds all of your photos.
If you don’t see a parent folder with all your photos, right-click on the uppermost folder that you do see. Then, click “Show Parent Folder,” as shown below. Also, be sure that you have enabled “Show Photos in Subfolders,” which is under the “Library” menu option in Lightroom.
Now that you have found the parent folder, highlight every photo in your library (control+a for Windows, or command+a for Mac). At this point, you may have tens of thousands of photographs selected. Now, you just need to rename them. In Lightroom, this option is under Library>Rename Photos; in Capture One, it is under File>Batch Rename.
The next step is to choose the title you want to give your images. I format mine as CUSTOMNAME-1, where “1” represents a sequence, but feel free to choose whatever name makes the most sense to you.
The steps above work well to rename your old photos, but there is one major problem: you will overwrite the titles for photos that already have custom titles. If I have a photo named “Milky Way Reflection,” I don’t want to replace it with a generic CUSTOMNAME-00001 title. The only photos I want to rename are the default, “DSC_1234” photos that I haven’t already given a name.
Luckily, this also is easy to correct: simply sort your photos by the text “DSC,” then highlight every image. Now, you have filtered out all the photographs with custom titles!
To search for “DSC” photos in Lightroom, click “Text” in the Library module’s filter bar. Other software has similar sorting tools, and there is no point in covering every one; simply search online if this is new to you. Again, you should be in the parent folder.
Once you have renamed all your old images, it’s time to make your system future-proof. This is simple; all you need to do is rename every photo as it loads onto your computer. Almost all photography software lets you to do this automatically – even the free software that is bundled with many cameras.
Your goal here is to create an automatic file name that is unrepeatable; you never want to have a duplicate. Personally, I use a naming system with the following form:
YYYY-MM-DD-Hour-Minute-Original Filename
Although it is a bit long, this file name does not repeat. And, all the better, I can set this format with Lightroom’s custom naming tool; I never need to type any information myself. A sample photograph of mine might be:
2015-12-31-23-59-DSC_1234
This represents December 31, 2015, at 11:59pm.
Assuming that I don’t shoot 167 photographs per second, this system won’t duplicate any names for thousands of years! At the same time, it is descriptive; a quick glance tells me exactly when I took each image.
There is one remaining issue with a name like this: if I take photographs with multiple cameras, it still is possible – if unlikely – to have duplicate file names. To get around this issue, I replace the “DSC” standard on each of my cameras with a different combination of letters. This is done in the camera’s menu itself.
For my primary camera, my photos become SKY_1234. For my secondary camera, my photos are OAK_1234. It is simple to change this option on almost all modern cameras; I recommend that you consult your manual if you don’t know how to do so.
Is this system overkill? Perhaps it is. But I personally have lost some of my photographs from duplicating file names, then mindlessly clicking “Replace” when my computer runs into an error. Now, I never have to worry about this again. For any photographer shooting digitally, it is crucial that your photographs have unique file names; otherwise, you may lose some of your favorite shots.
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While Nasim is busy traveling, I am going to try to fill in for a few days and post some articles. Although there are a number of reasons why I have not been writing for PL for a while now, one of the main reasons has been simply lack of time! I hope our readers can forgive me for that, but going forward, I will do my best to show up a bit more often, since we need more female content here Anyway, since I get a lot of questions and requests from our readers regarding food photography (many of whom are novice photographers and food bloggers), I decided to do a quick review of Nicole S. Young’s book titled “Food Photography: From Snapshots to Great Shots” that I bought a few years back for my own personal use.
NIKON D750 @ 50mm, ISO 100, 1/60, f/1.8
Note: Since my purchase, Nicole has already published a Second Edition of the book, with more up to date information. So if you are planning to buy this book, I would recommend to get the latest and greatest version.
When I started learning about food photography (see my food blog with a list of recipes), there weren’t many books to learn from. With little to no budget, I mostly acquired knowledge from random food bloggers and relied on my technical background as a wedding and portrait photographer. Learning a new craft can be a long and painful process, but if you are patient and persistent enough to stay on track, you will eventually succeed. Unless you have a big budget to hire a professional food photographer who can teach you their craft in a jiffy (not happening), you will most likely be scrambling for information from various sources to build yourself up. The good news is, you don’t really need to worry about that anymore, since quite a few photographers and food stylists have already done the hard work by creating excellent material to aid others in the learning process.
NIKON D750 @ 50mm, ISO 100, 1/50, f/1.8
In my humble opinion, “Food Photography: From Snapshots to Great Shots” by Nicole S. Young is one of such materials. While it might seem a little easy or lacking for seasoned food photographers, it is a great place to start for those wanting to learn the basics of food photography. So to clarify, this book is geared towards more of an entry-level food photographer or a food blogger, who is looking to solidify their core technical and inspirational base. This book is for photographers who are also their own food stylist. If you’ve been photographing food for years and looking into “spicing things up” and taking your skills to the next level, this book is NOT for you. Many negative reviews of this book come from people who have a solid footing in photography, which in my opinion, is not really fair, considering the intention of the writer to begin with.
Every teacher has a different style of teaching and every teacher chooses their tools according to their curriculum and beliefs. While my technical approach is a little different than Mrs. Young’s and I use different photographic gear than her, the principles outlined in this book are true to what she has to offer. Mrs. Nicole starts with a basic introduction of correlation between Aperture, Shutter Speed and ISO. She talks about the importance of choosing the correct while balance, the differences between RAW and JPEG, etc. She chooses to use Adobe Photoshop for post-processing work and she takes you through the steps she uses to achieve her final results (if you don’t use Adobe Photoshop, you can still benefit from using similar steps in other photo editing platforms).
NIKON D750 @ 50mm, ISO 100, 1/40, f/1.8
Her next chapter is dedicated to choosing camera equipment and accessories for food photography. She explains what gear she uses and why. Mrs. Young also gives a good amount of general information about lenses, focal lengths and their use. These recommendations can be used across the board for different camera brands.
Next, she goes into lighting the subject, which in this case is food. There is only one case scenario, shooting back-lit and making that scenario work really well. While there many other options of lighting food, Mrs. Young chose to showcase back-lit food photography the most. She also talks about lighting modifiers and accessories one might need to use to get the shot. These accessories can be used in different case scenarios, regardless if you are shooting back-lit or not.
As a food photographer, I do not have access to a fancy food stylist. So, I end up styling my food according to my own taste and according to my best knowledge. Mrs. Young dedicated a chapter to this concept and gave pointers on how to make food look more appealing by using simple tools, without making it look plastic and inedible. I really wished this part of the book was bigger and had more content going its way. While learning photography itself is half the challenge, styling food and having a good eye for design is not something that everyone can do or master. However, it can be taught and can be improved. For the slot allocated for food styling though, Mrs. Young gives sensible tips on how to use professional tricks like “sit-ins”, correct framing, and usage of live view to make sure the end result of your food looks much better than before you started reading this book.
NIKON D750 @ 50mm, ISO 100, 1/80, f/1.8
Overall, I found “Food Photography: From Snapshots to Great Shots” to be informative and well-written. It is pretty straightforward, easy to understand and has a quite a fair amount of beneficial information to jump-start your food photography. While the book could have been expanded to cover many more topics, it would have potentially made it overly complicated for beginners, which might not have been the original intent of the author. In my view, it is a finished product for its intended purpose and it could serve as a preparation step for other tutorials to come from Mrs. Young in the future.
The post Food Photography: From Snapshots to Great Shots (Book Review) appeared first on Photography Life.
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Released too late for our major group test of macro lenses in issue 171, Sony’s new offering is now present, and looks very much correct.
It’s a full-frame format E-mount optic that’s ideally suited to the Alpha 7 series of camera bodies, further extending the appeal of Sony’s Alpha E-mount system.
A prime lens in every way, it boasts excellent build quality and a host of high-end features, along with a short telephoto focal length and full 1.0x or 1:1 magnification at its shortest focus setting.
Build & handling
The quality glass includes aspherical, ED and Super ED elements, plus Nano AR coating. There are 15 elements in all, arranged in 11 groups.
Further highlights include DDSSM (Direct Drive Super Sonic-wave Motor) autofocus; an OSS (Optical SteadyShot) stabiliser; a three-position autofocus limiter switch that includes full-, short- and long-range settings; a focus hold button on the side of the lens barrel; and a well-rounded nine-blade diaphragm.
There’s no full-time manual override of autofocus as such. Instead, you can switch between autofocus and manual focus by nudging the focus ring forwards or backwards.
The manual focus ring has a fairly long travel and operates very smoothly, enabling precise adjustments. One downside of the system, however, is that the focus distance scale is inactive during autofocus.
Performance
Autofocus is fairly fast, near-silent and, coupled with an A7-series camera, extremely accurate. Sharpness and contrast are very good, even at the widest available aperture of f/2.8, which enables a tight depth of field for portraiture and other short telephoto shots.
As with competing stabilised macro lenses, the effectiveness of the stabiliser is greatly reduced at very short focus distances.
Full-frame compatible
Yes
Focal length
90mm full-frame;
135mm APS-C
Image stabiliser
Yes
Min focus distance
0.28m
Max magnification factor
1.0x
Manual focus override
Push-pull focus ring
Focus limit switches
Yes
Internal zoom/focus
N/A / Yes
Filter size
62mm
Iris blades
9 (rounded)
Weather seals
Yes
Accessories
Lens caps, hood
Dimensions (D x L)
79 x 131mm
Weight
602g
Price
£900/$ 1,100
The Sony is equally adept as a close-up macro lens and a short telephoto with attractive bokeh, but UK pricing is high.
Features: 4.5/5
Build & Handling: 4.5/5
Performance: 4.5/5
Value: 3.5/5
Overall: 4.5/5
READ MORE
Sony lenses explained: which lenses to use on which cameras
Canon EOS 5D Mark III vs Sony A7 II
Sony A7S II vs A7 II vs A7R II: which should you buy?
The post Sony FE 90mm f/2.8 Macro G OSS review appeared first on Digital Camera World.
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“When you’re taking a photo of a family, you always want to think about how to bring their bodies physically close together,” said Koh. “If there’s any gaps that we can see through them, then it doesn’t feel as intimate.”
“Try to work with the energy of the kids’ personalities,” she said. “I would never have [an independent kid who doesn’t want to be touched] in the middle with a lot of physical squishiness around him because that would frustrate him.”
“This was awesome because this is I think the reality of how a grandparent can feel,” said Koh, about the image above. “They may not expect me to shoot this, but this is definitely something I love way better than everyone looking great and perfect for the camera.”
“I tell the moms, ‘Wear something that you feel absolutely beautiful in,’ because that sets me up for success,” said Koh. “If Mom doesn’t look great in that photo, then that photo will never see the light of day.”
“Family portraits to me are really about telling the story of the season of life that [clients are] as a family,” said Koh. “Once you start to free yourself up to look for stories, then you start to set yourself up for success.”
“Wherever the best light is is where I’m going to do most of the shoot,” said Koh. “I don’t use flash, I don’t set up lights, I never bring a background… I always am working with window light.
“I love it when the kids get bored because all of a sudden they drop down into this quieter energy,” said Koh. “They start forgetting about me and they start wanting to gravitate toward Mom often and snuggle with Mom.”
“If they lose eye contact with me, it’s just over,” she said.
“I’m often shooting wide open, at f/2.8 or lower,” said Koh. “I just love for everything to be buttery and blurry except for who the story is about.”
“When you’re shooting wide open, you can shoot just about anywhere,” said Koh, “But whenever I have a chance to work with backgrounds that have textures, I feel like that adds a different energy to the photos.”
“Give yourself the freedom to ask kids what they think,” said Koh. “That’s your holiday card… that is the season of this family and that is the magic of where they’re at right now in life.”
“Whenever a client has an idea of what they want taken, I always love to do that for them,” said Koh. “I never want to say, ‘Oh, but that’s actually a really bad idea,’ because I don’t want them to think that their contribution is not valid.”
“Shadows really define where the light is and illuminate the emotion in the moment,” said Koh. “If I have them turn to the side and get farther back where that light almost ends, now I’m going to have shadows and depth and that emotion is going to come out that much more.”
“If I have a family that doesn’t have a lot of emotion… [or] they’re not as outwardly affectionate with each other, backlight will make them seem like the most emotional, intimate family you’ve ever met.”
“Any time you feel like you’re starting to get into a rut, it means that your creative spirit is wanting you to risk something or is wanting you to branch out in some new way,” said Koh. “[It’s] asking you for another challenge!”
At this time when many of us are excited by the new camera announcements, I thought it will be intriguing to do a write up describing my first time shooting 35 mm black and white film. Last summer, I found some time to swing by the Ancient Bristlecone Pine Forest in White Mountains near Bishop, California. I knew that the timing of my trip will not coincide with the best lighting for photography, especially in color. So, I decided to photograph these ancient trees in B/W. Why B/W film? Well, I have always wanted to enjoy the aesthetics of it as well as I thought it will force me to think in terms of highlights, shadows and texture. All in all, a good learning experience.
A Bristlecone Pine in the rugged White Mountains, near Bishop, CA
Since this was a side trip, I wanted to keep my equipment fairly simple and light. I chose my trusted Nikon FE together with Nikon 24mm f/2.8 AI and Nikon 75-150 f/3.5 E AI lenses. This trio can be acquired used in very good condition for about $ 250! Both these lenses are very sharp when stopped down to f/8 and hold reasonably well upto f/16 (they also make an excellent backpacking combo with Nikon D610 or D750). Also, the common 52 mm thread meant that I can share a polarizer and an orange filter between them. Orange filter? Now why is that needed?
Texture of an ancient Bristlecone Pine
Details of an ancient Bristlecone Pine bark
An orange filter as the name suggests allows orange-red wavelengths to pass and blocks violet-blue light. This darkens the blues and helps the clouds to stand out more in the sky. Moreover, the bristlecone pines have orange barks. These will be rendered as white (or comparatively brighter), which will increase contrast in the texture. It should be noted that a red filter will do the same and even more so. I chose an orange filter to play a little safe for it was the first time for me shooting B/W film with filters.
Clouds frame the Bristlecone Pine, Discovery trail in White Mountains
Clouds, shadows and an ancient Bristlecone Pine
Since, orange filters alter the luminosity selectively, which in turn may also modify the response of b/w film, there is a consensus among photographers that some exposure compensation is required. I spend some time reading about this and found a variety of recommendations- from +0.5 EV to +3 EV, which left me confused. In the end I decided to bracket exposures and draw a conclusion of my own. I found that about one-third to two-third of positive exposure compensation works well for an SLR camera that uses TTL metering. This is easily accomplished by setting the ISO (ASA) speed appropriately. For example, I was using Ilford FP4+, which has a box ISO speed of 125. In my Nikon FE, I set the ISO dial to 80, thus allowing +2/3 stop of exposure compensation. I chose ILFORD FP4+ because of its pleasing tonality and almost endless highlight headroom. This film takes overexposure with such an aplomb that with careful scanning one can recover highlight details from a scene overexposed by 2-3 stops (maybe more!).
Pine in the rugged rocky terrain of the White Mountains. Sierra Nevada range is seen at a distance.
Bristlecone Pine with Sierras in the background
At the Ancient Bristlecone Pine forest, I hiked the Discovery loop at the Schulman Grove. It is a one mile trail that saves the best for the end if hiked in a counter-clockwise fashion. I spent about two hours here, stopping several times, looking for compositions and making photos. The bristlecone pines are very photogenic and each tree has a character of its own. I recall myself being enthralled and completely absorbed on the trail. It is fascinating to imagine that several of these trees were already thousand(s) of years old when Jesus Christ was born.
Tree waves and clouds, Schulman Grove, White Mountains, CA
Trees and texture, Schulman Grove, White Mountains, CA
Fl
The film was developed at ILFORD LAB DIRECT and I scanned it using my Nikon Coolscan 5000 (the b/w mode works quite well). Since the digital ICE (scratch and dust removal) tool in the scanner is not suited for traditional B/W film, dust spots and scratches need to be removed manually, which adds to the scanning time and effort. I also used contrast curves and minor dodging and burning in Photoshop to reach these final selected images. I hope you enjoyed them it will be great to hear comments/feedback. In the end, I will share a photo of Tuolumne Meadows in Yosemite National Park that I clicked while driving to Bishop.
Storm clouds over Tuolumne Meadows, Yosemite National Park, CA
The post Walking Among the Bristlecone Pines appeared first on Photography Life.
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Lorincz Jonatan, a freelance editor from Hungary, worked last summer in Germany in a car factory, and spent time taking photos in Alsace region : in France in Strasbourg, and mostly in Germany, in Karlsruhe and Freiburg. Growing up in a post-communist Eastern European country made him appreciate simple structures and clear colors. This collection of pictures is called Perceive, because it’s simply his vision and his perception of things.
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The Rebel T6 will ship in the US next month at a price of $ 549, which includes the 18-55mm F3.5-5.6 IS II lens.
Press release:
Become the next Internet sensation with built-in Wi-Fi®and NFC connectivity*
MELVILLE, N.Y., March 10, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced its newest entry-level DSLR camera, the EOS Rebel T6. The Canon EOS Rebel T6 camera offers easy sharing of high quality photos and videos to popular social media sites via compatible smartphones and other mobile devices* as well as Canon’s Connect Station CS100.
“Smartphone users passionate about photography and ready to take that next step to creating their best images and videos ever will appreciate the ease-of-use and affordability of the new EOS Rebel T6 camera,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “With the latest addition of the EOS Rebel T6 camera, the Canon EOS Rebel series continues to be one of the most popular DSLR camera lines on the market.”
The Canon EOS Rebel T6 DSLR camera offers a wide range of features including:
Missed Photo Ops a Thing of the Past
The Canon EOS Rebel T6 camera provides a wide ISO range of 100-6400 (expandable to ISO 12800), making it ideal for shooting both still and moving subjects in a wide variety of lighting conditions ranging from low light to bright sunny days. In addition, the camera is capable of shooting high-resolution 18 megapixel still photos continuously up-to-three frames per second (fps), with predictive autofocus to help keep every image sharp and clear, even with moving subjects.
The Scene Intelligent Auto mode in the Canon EOS Rebel T6 camera analyzes the image, accounting for faces, colors, brightness, moving objects, contrast and whether the camera is handheld or on a tripod. Scene Intelligent Auto mode then chooses the exposure and enhancements that can bring out the beauty in virtually any scene or situation. Simplifying DSLR image capture, Scene Intelligent Auto mode lets you concentrate on composing images without puzzling over settings.
Another exciting addition to the Canon EOS Rebel T6 camera is a new ‘Food Mode’ on the mode dial for the foodie or blogger to easily capture stunning images of the food they love. This mode enhances the color and brightness of the food images while at the same time making the images ready to share. Other fully automatic exposure modes include portrait, night portrait, landscape, sports, and close-up. Additionally, the easy-to-use Full HD video mode captures sharp, high-definition video up to 1080p resolution with the choice of automatic or manual focusing. Creative filters such as Fisheye, Toy Camera, Miniature, and Soft Focus give users additional ways to create fun and imaginative images to enjoy, print and share. The camera’s new “white priority” Auto White Balance setting enables users to create images with a more neutral tone when shooting under incandescent lighting. In addition to all the automatic modes, the new Canon EOS Rebel T6 camera provides complete manual exposure and focus controls plus RAW image output for advanced amateur photographers and photography students.
The Canon EOS Rebel T6 camera is compatible with the entire Canon EF and EF-S lens system including over 60 current models enabling users to capture their world in different perspectives ranging from Fisheye to Super-Telephoto. Scheduled for availability in April 2016, the estimated retail price of the Canon EOS Rebel T6 camera will be $ 549.99** when bundled with the EF-S 18-55mm f/3.5-5.6 IS II standard zoom lens.
* Compatible with iOS® versions 7.1/8.4/9.0, AndroidTM smartphone and tablet versions 4.0/4.1/4.2/4.3/4.4/5.0/5.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.
**Availability, prices, and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.
| Price | |
|---|---|
| MSRP | $ 549.99 (with 18-55mm F3.5-5.6 IS II lens) |
| Body type | |
| Body type | Compact SLR |
| Body material | Composite |
| Sensor | |
| Max resolution | 5184 x 3456 |
| Other resolutions | 3456 x 2304, 2592 x 1728, 1920 x 1080, 720 x 480 |
| Image ratio w:h | 1:1, 4:3, 3:2, 16:9 |
| Effective pixels | 18 megapixels |
| Sensor photo detectors | 19 megapixels |
| Sensor size | APS-C (22.3 x 14.9 mm) |
| Sensor type | CMOS |
| Processor | Digic 4+ |
| Color space | sRGB, AdobeRGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, ISO 100-6400, expandable to 12800 |
| Boosted ISO (maximum) | 12800 |
| White balance presets | 6 |
| Custom white balance | Yes |
| Image stabilization | No |
| Uncompressed format | RAW |
| JPEG quality levels | Fine, Normal |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes (flash) |
| Digital zoom | No |
| Manual focus | Yes |
| Number of focus points | 9 |
| Lens mount | Canon EF/EF-S |
| Focal length multiplier | 1.6× |
| Screen / viewfinder | |
| Articulated LCD | Fixed |
| Screen size | 3″ |
| Screen dots | 920,000 |
| Touch screen | No |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Optical (pentamirror) |
| Viewfinder coverage | 95% |
| Viewfinder magnification | 0.8× |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/4000 sec |
| Exposure modes |
|
| Scene modes |
|
| Built-in flash | Yes (Pop-up) |
| Flash range | 9.20 m (at ISO 100) |
| External flash | Yes (via hot shoe) |
| Flash modes | Auto, On, Off, Red-eye |
| Flash X sync speed | 1/200 sec |
| Drive modes |
|
| Continuous drive | 3.0 fps |
| Self-timer | Yes (2 or 10 sec) |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±2 (3 frames at 1/3 EV, 1/2 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Resolutions | 1920 x 1080 (30p, 24p), 1280 x 720 (60p), 640 x 480 (30p) |
| Format | MPEG-4, H.264 |
| Microphone | Mono |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC card |
| Connectivity | |
| USB | USB 2.0 (480 Mbit/sec) |
| HDMI | Yes (mini-HDMI) |
| Microphone port | No |
| Headphone port | No |
| Wireless | Built-In |
| Wireless notes | 802.11b/g/n with NFC |
| Remote control | Yes (wired or wireless) |
| Physical | |
| Environmentally sealed | No |
| Battery | Battery Pack |
| Battery description | Lithium-Ion LP-E10 rechargeable battery & charger |
| Battery Life (CIPA) | 500 |
| Weight (inc. batteries) | 485 g (1.07 lb / 17.11 oz) |
| Dimensions | 129 x 101 x 78 mm (5.08 x 3.98 x 3.07″) |
| Other features | |
| Orientation sensor | Yes |
| GPS | None |
Articles: Digital Photography Review (dpreview.com)
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