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.
The post Avoiding Duplicate File Names appeared first on Photography Life.
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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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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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Most of us have received critiques of our work at some point of our life. Some of the most subjective feedback is that directed at works of art. Photography is no exception.
With a lot of people picking up photography as a hobby, it’s no wonder that a lot of photography related forums are created with the purpose of sharing. And one of the popular subjects of these groups is critique, where members get to give “constructive” comments with the hope that it will help the image maker. The reverse is also true where a photographer posts his best shot and hopes to get constructive and helpful criticism in order to learn from the more experienced photographers.
Photo by Kim Seng.
When I took a course on image analysis with the Photographic Society of America (PSA), when I first started photography, the most important aspect I learned about giving constructive feedback is to put it forth as my own point of view.
Why is this “own point of view” so important?
Photography is so subjective that an image can gather equal amount of “likes” and “dislikes” at the same time. My tutor told me that it is subjective to the point of being ridiculous. Each and every one of us perceives beauty in our own way. Not just beauty, but almost everything in life, right? Some of us like eating steak, while some would rather stay away from meat. Some of us like to remain single, while some would rather marry and have 10 children.
That being said, the image maker, too, perceives beauty differently from the one critiquing the work. To the one posting the image, it might be his best shot and he thinks of it as being perfect. I’ve been there when I started photography. I thought what I’d shot was very good. Boy was I wrong. If I were to look back at my very first batch of photographs, I would be appalled and would give myself the harshest of critiques. But hey, we were all once amateurs. And everyone is learning all the time and wants to improve. So the main thing is not to belittle anybody, because we were most likely in their shoes at some point.
Photo by Sakhar Nair; ISO 400, f/11, 1/1600 exposure.
So, if we don’t have the “eyes” now to critique and comment on our current work, what better way than to ask those who have been there done that. A word of caution: when you put your work out there in the open, be prepared and open minded to receive comments and criticism from those who have not been there done that.
Sometimes, you can get ideas spinning off from even those who are very new to the art of photography.
Back to the subject of “own point of view,” it’s imperative that we start off our critiques with preambles. Not those legal mumbo-jumbo kind of preambles, but something as simple as, “In my opinion…” This is to tell the reader that whatever is going to be said is purely your own opinion. It’s nothing personal.
What I’ve learned from PSA is to look at different aspects of photography when giving criticism and comments. And also avoid rules like the rule of thirds. Stay away from these rules of photography when giving comments, because they’re not prerequisites when making a photo. Nothing is ever fixed in the world of art. Why should it be? We would live in a world of zero creativity if everything was so rigid. So stay away from giving comments like, “It would be better if you had used the rule of thirds to compose this image.”
Oh yeah, and stay away from, “It would be better… ” and the super imposing, “If I were you…”
Photo by Adrian Cabrero; ISO 100, f/2, 1/2000 exposure.
What are the aspects to look for? Here are some…
During the course, I was asked to comment on one of Henri Cartier-Bresson’s most revered images. I didn’t know this person or his work at that time. So I just gave my comments. Luckily for me, I started off the critique with, “I think… “, “In my opinion… “, and “To me… ” Only when my tutor told me that prints of the image are being sold at galleries for $ 10,000 each, and that it is okay to comment as long as it is our opinion, did I begin to reflect upon the fact that art is so subjective.
In essence, write your comments with the preamble, be nice with your words, and never be a jerk.
Another note in “courteous” critiquing would be to separate our good comments and suggestions. Try to put across all the good points first, then give your suggestions. Do not say something like, “I personally feel that the image is well done, but…”
It’s the BUT that is the pain in the BUTT.
Photo by Flickr user Roger; ISO 1600, f/4.5, 0.4-second exposure.
Say your suggestions separately, so that the image maker can keep all the positive comments and then learn from the critique.
And last but not least, although sometimes it’s better to keep quiet if what we are going to say could potentially offend someone, it’s also important to note that constructive criticism can teach us a thing or two about our own work. Most of the time saying what we already know reinforces our knowledge and can open doors to new knowledge. Do it with tact and humility.
Someone once said that we don’t live long enough to be anything but amateurs.
So when putting across what you think, say it like you know it, but make it sound like you know nothing.
Good luck!
About the Author:
Fauzi Anuar (http://ift.tt/1TuLuOv) is a qualified master photographer (AMPA) specialising in portraiture, interiors and food.
Go to full article: The Importance of Constructive Feedback in Photography
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Article from: PictureCorrect
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| 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 | |
