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There can be only one: why isn’t the EOS R3 an EOS R1?

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There can be only one: why isn’t the EOS R3 an EOS R1?
Something is beginning to make me think Canon intends the EOS R3 to be a full-on pro sports camera.

Time has a habit of eroding certainty like the sea lapping at the foreshore; something like that, anyway. The point being that opinions and predictions have a horrible habit of being rendered outdated, and even downright ridiculous, by events. Which is my roundabout way of saying that I’m having second thoughts about the EOS R3.

When Canon first announced its development, I opined that it was going to be an intermediate model between the EOS R5 and a forthcoming EOS R1, just as the EOS 3 had been, back in the colloidal swamp of the film era. But the latest droplet of attention-sustaining PR from Canon about its forthcoming model has left me wondering: might I have been… how can I say this? Wrong?

Making something from the latest morsels

The latest tranche of specs released by Canon makes the EOS R3 look much more like a mirrorless EOS-1D series camera than I’d previously assumed, based on the original announcement. Canon had already revealed that the R3 will exceed the 1D X Mark III’s maximum burst rate, but the model name and talk of eye-directed AF (a feature I wouldn’t assume to be pro-ready in its first iteration) made me conclude that the new camera would be designed for high-end users, but not necessarily ready to become the default choice of the most demanding sideline sports shooters.

The confirmation of 1D X III-style Smart Controllers in the EOS R3 may not have been as eye-catching as the promised Eye Tracking AF system, but it suggests the R3 will try to match the DSLR’s speed of AF point control

But Canon’s announcement that the R3 will have an Ethernet port and a host of wired and wireless means of sending images quickly from the camera makes me question my assumptions. The provision of the smart controllers, previously seen on the 1D X Mark III, but not the more lowly EOS R5 also point towards the R3 being more pro-focused. And, perhaps because I spend far too much of my life thinking about these things, the use of the same LP-E19 battery as used by the 1D series tells me that Canon expects the R3 to sit alongside 1D X cameras: not just because a large battery suggests a high level of endurance or dependability, but also because it will lend the R3 cross-compatibility for people already using LP-E19s.

So why isn’t it called the EOS R1?

If, as it appears, the R3 is going to be a camera that aims to do pretty much everything a 1D X III can do, why isn’t Canon just calling it the EOS R1? To my mind there are three possibilities:

Theory #1: The EOS-1D X III is still too new

The EOS-1D X Mark III hasn’t yet had its chance to shine. Canon has historically released its top-end sports cameras just before the Olympic Games, with the expectation that they’ll be the primary tool of photographers covering the event. But, with the 2020 Tokyo games still yet to take place, the EOS-1D X III is a camera that hasn’t yet had its day in the sun. The R3’s development will have continued, despite the delay to the sporting calendar, and hence it’s arrived before 1D X III buyers have had a chance to make good use of their investments.

This is probably the theory I’m least convinced by, but there’s always been an implicit compact between Canon and the professionals and agencies that buy 1 series cameras: that they can make the investment with some confidence that it won’t be replaced or usurped for several years. Introducing a ‘mirrorless 1 series’ before most 1D X III buyers have run their cameras in would undermine that, leaving buyers to agonize over whether to write-off their 1D investment and switch to a mirrorless equivalent.

I know I’m reading a lot into the choice of battery Canon has made for the R3, but I wonder whether the LP-E19 is being used so that photographers using the new camera side-by-side with EOS 1D X cameras won’t need to mess around with multiple chargers.

The argument against this theory is that Canon doesn’t exist in a bubble. Canon is likely to be keenly aware of what Sony and Nikon are doing, so would it dare risk under-selling its mirrorless capabilities by down-branding a camera, just to protect sales of an older model?

Theory #2: The R3 is the fast camera, the R1 will be high-res

The second possibility is that the R1 will be a high-resolution model, to the R3’s high-speed one. This would fit with Canon’s former approach, in which it offered a full-frame 1Ds model for professionals needing high resolution and a high-speed APS-H 1D model for sports. These appeared to merge with the EOS 1D X, which offered relatively high resolution, high speed and a full-frame sensor, but perhaps Canon has decided a two-camera strategy makes more sense, in an era where the definition of ‘high-res’ is being pushed so much higher than fast cameras can match.

Sony’s a1 offers an unprecedented combination of speed and resolution, but still doesn’t come close to the comparably priced GFX 100S for photographers needing maximum detail

Theory #3: The R3 might look good but an ‘R1’ would need to be perfect

The third possibility, then, is simply that Canon doesn’t want to use its ‘1 series’ designation for a mirrorless camera until it can unarguably out-perform the EOS-1D cameras in every regard. All the specs released so far suggest the R3 should be a match for the EOS-1D X Mark III, but the ultimate test of that will be whether professional 1D X users find they can work with and depend upon the R3 to the same degree. Given Canon’s historical reticence to over-claim what its cameras are capable of, this seems plausible to me (and the no-doubt bruising experience surrounding the R5 and R6’s video capabilities may well have left the company erring on the side of caution).

Ultimately, it’s impossible to be sure, based on what Canon has publicly said. We’re hoping the EOS R3 is released soon, so we can find out for ourselves, but with the rescheduled 2020 2021 Tokyo Olympics just over a month away, it seems likely that the camera will be put to the test soon enough. Maybe then we’ll begin to see what, if anything, separates it from a 1-series camera.

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Leica just released a surprising accessory for diehard mobile photography

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Leica just released a surprising accessory for diehard mobile photography


Photo: Leica

With its latest announcement, Leica is furthering its focus on mobile photography, adding a new accessory to its lineup. The company designed the Leica Lux Grip specifically for iPhones, following up on the June release of the Leica Lux iPhone app. The grip is strictly for Leica lovers, as it will only work with Leica’s iPhone app; controls will not transfer to the default iPhone camera app or any other third-party options.

Leica says the Lux Grip is “similar to a classic Leica camera in terms of its handling and feel.” It goes even further and explains that all of the grip’s “physical controls consistently express Leica’s design philosophy and conjure up the familiar experience of using a professional camera.” Any grip will make for a more camera-like experience and make taking photographs with a phone a bit more ergonomic, so users who focus on mobile photography could certainly benefit from it.

leica-LUX-Grip-on-blue
Photo: Leica

The grip relies on a magnetic MagSafe connection rather than a case-like design, which is typical in other phone grips. The magnetic attachment makes switching between portrait and landscape orientations easy while maintaining a comfortable grip with easy controls. Plus, removing the grip when it’s not needed and returning to a traditional phone form factor is straightforward. That also means that when users purchase a new iPhone, there’s no need to buy an entirely new grip specific to that phone.

The Lux Grip uses Bluetooth Low Energy (BLE) connectivity to communicate with a phone’s camera, allowing users to control camera functionality without digging into phone menus. That includes a two-stage shutter release that, like cameras, uses light pressure to focus and a full press to take a photo. There’s also a button to switch between shooting modes, two customizable buttons and a dial for adjusting settings.

leica-LUX-Grip-in-case
Photo: Leica

For those who want to go all out, Leica also released a leather case designed just for the Lux Grip, which features an AirTag holder.

The Leica Lux Grip is available for $329 on Leica’s website and B&H. The purchase includes a year of the Leica LUX Pro subscription.


Buy now:

$329 at B&H

$329 at Leica


Press release:

Leica Camera AG is launching the Leica LUX Grip for the iPhone today.

The camera grip impresses with its intuitive operation and high-quality manufacturing while, at the same time, setting new standards for photographic precision using a smartphone. The Leica LUX Grip is similar to a classic Leica camera in terms of its handling and feel. Its clear design, sophisticated operating concept and easy attachment – guaranteed by secure magnetic MagSafe technology – improve the ergonomics and functionality of smartphone photography, taking it to a new level. The LUX Grip and iPhone communicate via Bluetooth Low Energy (BLE) and are perfectly complemented by the Leica LUX app.

All of the LUX Grip’s physical controls consistently express Leica’s design philosophy and conjure up the familiar experience of using a professional camera. The 2-stage shutter release focusses with light pressure and starts shooting when fully pressed down. A button allows you to quickly switch between shooting modes. Two control elements can be individually assigned and customised via the Leica LUX app. While one button provides quick access to frequently used functions, the easy-to-grip control dial enables the precise selection of camera settings – such as zoom, aperture, shutter speed and exposure compensation. This means that photographers have all the essential aspects of image composition in their own hands, even when using a smartphone.

The Leica LUX app rounds off the photographic experience by adding the unmistakable image and colour aesthetics of legendary Leica lenses. The bokeh effect of the Summilux-M or Noctilux-M can be used to deliberately emphasise features while retaining full control over exposure, ISO and shutter speed. Unique Leica Looks – from Vivid to classic Black&White – expand the artistic palette, lending digital photography an analogue character. The Leica LUX app forms a perfect symbiosis with the LUX Grip. The full version of the app is included for one year with every Grip product registration.

The LUX Grip also sets the tone when it comes to sustainability. Thanks to its modular design, the Grip can be easily reused with all electronic components every time you change your iPhone. Only the MagSafe base plate has to be replaced. Weighing just 130 grams, the Leica LUX Grip is comfortable to hold and is equally suitable for left- and right-handed users. Its powerful battery lets you take up to 1,000 shots and will be ready for use again in a flash with a charging time of 2 hours via USB-C.

The Leica LUX Grip is now available in selected Leica Stores, in the Leica Online Store and from specialist retailers. The recommended retail price is EUR 300 incl. VAT.



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Nikon Z 35mm F1.2 S pre-production sample gallery

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Nikon Z 35mm F1.2 S pre-production sample gallery


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Nikon Nikkor Z 35mm F1.2 pre-production | F1.2 | 1/125 sec | ISO 64

Earlier this week, Nikon announced the Nikkor Z 35mm F1.2 S, a wide-angle lens with a fast aperture. We were able to spend a few hours on the streets of Seattle with a pre-production model, and got some shots that should give you an idea of what this lens is about.

A few caveats to keep in mind – given that the photos were shot with a pre-production lens, they may not be exactly indicative of how a production model would perform. Our standard lens gallery procedure also involves processing the images through Capture One, giving us precise control over what corrections are and are not applied. However, the images in this sample gallery are straight out of camera JPEGs, and thus may have corrections that wouldn’t usually be applied to images in our sample galleries.

Sample gallery
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The tiny Viltrox 28mm "chip" lens is coming to Fujifilm X-mount

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The tiny Viltrox 28mm "chip" lens is coming to Fujifilm X-mount


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This image depicts the Sony E-mount version of the AF 28mm F4.5 lens, though the size is nearly identical.

Photo: Viltrox

After a playful bit of marketing, Viltrox announced a new flavor of its ultra-thin AF 28mm F4.5 lens. It first made the lens available for Sony E-mount cameras last fall, and now it will also be available for X-mount cameras.

Viltrox calls this teeny offering a chip lens. That nickname is in reference to how thin it is, drawing similarities with potato chips, and does not pertain to any sort of technology inside the lens. To stay on theme, the company’s teaser for the announcement featured a bag of chips with AF 28mm F4.5 XF above it, much like the Lays potato chip flavor announcements.

voiltrox-28mm-f4p5-chip-lens-graphic
Image: Viltrox

The Viltrox AF 28mm F4.5 is a unique lens because of its diminutive size. It weighs a measly 60g (2.1oz) and is only 15.3mm (0.6in) thick. To keep the size so minuscule, there are some compromises. Most notably, it uses a constant F4.5 aperture. That means no adjusting the aperture based on lighting conditions. Additionally, it lacks a manual focus ring, so you’ll be stuck entirely with autofocus. It also isn’t compatible with filters.

The optical design is made up of six elements in six groups, including two ED and two aspherical elements. Voltrox says it will deliver “sharp images, vibrant colors, and stunning starburst effects.” It uses a VCM for autofocus, which Viltrox promises will be “fast, precise, and silent.” Additionally, the lens features an integrated lens cap with a slide for opening and closing the cover and a USB-C port for firmware updates.

The AF 28mm F4.5 XF is available in black and white colorways for $99.



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