Packed with news, views and reviews, issue 106 of Photography News has everything you need! We’ve got details on how to register for our annual Photo Video 24 event, a full test of Canon’s diminutive EOS R8, plus advice on how to keep your video footage as smooth as silk. There’s also a round-up of the world’s best photography kit (according to the Technical Image Press Association), new products from Sigma, Sony and more, plus tests on lenses, software, tripods and memory cards. Take a look!
ISSUE 106 13 Apr-8 May 2023 photographynews.co.uk
Pg6 Photo Video 24 / Registration opens for this year’s event
Pg14 Canon EOS R8 / Diminutive full- frame model gets big test treatment
Pg26 Keeping it smooth / How to avoid the shakes on your video footage
Stop press! TIPA general assembly reveals award-winning photo and video kit from the last 12 months TOP OF THE WORLD!
TIPA, THE TECHNICAL Image Press Association, has revealed the 2023 winners for its prestigious World Awards following the general assembly in Barcelona. Cameras, lenses, software, accessories and services from across the photo and video industries were voted on by representatives from TIPA’s member publications, with winners in the 40 categories viewed as the cream of the industry. Photography News is a proud member of TIPA, and we were in Spain to have our say. Categories are hotly contested, with a broad range of products in the running for success. Canon scooped three camera awards – best entry-level APS-C (EOS R50), best advanced full-frame (EOS R8) and best professional video camera (XA70/XA75). While Fujifilm and Sony walked away with two awards each, for the X-T5 (best APS-C expert camera) and X-H2S (best APS-C professional camera), and the A7R V (best full-frame professional camera) and ZV-E1 (best professional content creator camera) respectively.
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What’s inside 04 News All the latest headlines from the world of photography and video. This month, we highlight the greatest kit in the world (according to TIPA), there’s information on a new full-frame vlogging camera from Sony – plus we reveal full details of this summer’s Photo Video 24. Registration is now open, so don’t miss your chance to get involved! 09 Samsung word search Find the missing word and you could win a Samsung memory card! Plus, the winner from issue 104 is revealed 10 Prize-winning inspiration Victors from the open category of the Sony World Photography Awards have been announced, and they’re amazing. We showcase the best images here to get you inspired to go out with your camera 14 Big test: Canon EOS R8 The recently launched EOS R8 is Canon’s lightest full- frame camera to date. But has the specification also been trimmed to fit its diminutive proportions? Will Cheung has been finding out 6
lens (see the test on page 29) was a real mixed bag weather-wise. I headed to the coast only to be greeted by strong northerly gusts that made the sea look straight out of a Hokusai print. The wind was bitterly cold, and the weather flipped from being steely grey and wet to sunny every few minutes. Undeterred, I spent approximately an hour on the beach, and though I couldn’t feel the fingers on one hand when I’d finished, I knew I had results I was happy with. That was a month ago, and while I visit the seaside at least three or four times a week, I am yet to experience the same conditions. The moral of the story? Make the most of the weather, whatever it’s doing – you never know when it’ll be the same again. As well as the Sigma test, we’ve plenty for you to sink your teeth into this issue. I’m delighted to confirm that registration for Photo Video 24 is open – find full details of what we have in store on page 6. Plus there’s a review of Canon’s new EOS R8, a comprehensive guide to outdoor equipment and much more besides. Enjoy the issue and I’ll see you next time!
EDITOR’S LETTER ROGER PAYNE
As I write this, I’m looking out of my office window and can see a solid blue, cloudless sky, spring flowers in full bloom and blossom on trees. It’s wonderful. As I alluded to last month, spring couldn’t come soon enough for me. Now it’s here, I am enjoying every darn minute of it! My shutter actuations have increased threefold ever since the clocks changed, and while I haven’t got too much that I’m over the moon with just yet, it’s great to be actively making more images again. I hope you’re doing and feeling the same. But while the sun being out and the sky being blue is great for feel-good photography, sometimes great images can also be created in more inclement conditions – and I learned that lesson this month. The day I chose to get out and about with Sigma’s 60-600mm
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21 Buyers’ guide: the great outdoors The clocks have changed and spring is now upon us – it’s time to get out and about! Our guide is just the ticket for anyone wanting to invest in fresh outdoor kit to celebrate the new season 26 Making movies Wave goodbye to wobbly footage with our comprehensive guide to supports. From in-camera options to tripods, sliders and more, we have all you need to know 28 First tests Sigma’s monster 60-600mm, Vanguard’s latest carbon-fibre tripod, a super-speedy Sandisk card plus AI-based noise- defeating software from DxO. We have definitive verdicts on the lot
Roger Payne
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TIPA’s tip-top kit Continued from page 1
OM Digital Solutions commits to the future Displaying its commitment to product development, OM Digital Solutions has opened a new tech centre in Tokyo. The building, close to the company’s R&D base, will focus on lens development and aims to cater to all manner of processes, from the planning stage of optical lenses through to production. Commenting on the new facility, representative director, president and CEO Shigemi Sugimoto said: “This new manufacturing technology centre is an example of our long-term commitment to the OM System brand. It will enhance our ability to bring quality lenses to market. Our goal is to help customers capture the best moments and enjoy nature through their photography.” om-digitalsolutions.com
Sony also took two lens awards, but it was Sigma that stood out in the glass groups with three wins, closely followed by Nikon and Tamron who each won a brace of gongs. Sigma’s success came in the best wide-angle prime, best wide-angle zoom and best superzoom categories for the 24mm f/1.4 Art, the 16-28mm f/2.8 Contemporary and the 60-600mm f/4.5-6.3 Sports respectively. While these will attract most interest, they represent only half the awards handed out. Looking further down the list reveals interesting products for those not after a new camera or lens. DJI’s Mini 3 Pro won best drone, Elinchrom’s Five won best portable flash professional, while Skylum’s Luminar Neo and DxO’s Photolab 6 triumphed in the best software categories. The awards were just announced as this issue of PN went to press. We’ll have a further look into the winners – and why the assembly deemed them worthy of success – next month. tipa.com “It was Sigma that stood out in the glass groups”
Vanguard goes tall with new travel tripods
THE WINNERS LIST IN FULL
The latest additions to Vanguard’s line-up are ideal for those who like to get height when they travel. The aluminium VEO 3T 265HAP and carbon-fibre VEO 3T 265HCP can fold down to just 44cm, but extension isn’t compromised, with a height of up to 1.6m possible with the centre column extended. Both feature 26mm five- section legs with twist locks and can be angled at 20°, 50° or 80°. A hook at the base allows you to add weight, while the two-way pan head has an Arca- compatible base and panning handle. One of the legs converts to a monopod and attachable spiked feet are supplied. Naturally, the carbon-fibre version is lighter at 1640g, while the aluminium version is 1840g. Both support up to 6kg and come with a low-angle adapter and carry bag. Prices are £320 for the carbon-fibre model or £250 for the aluminium. vanguardworld.co.uk
› PORTRAIT LENS Nikkor Z 85mm f/1.2 S › MACRO LENS AstrHori 28mm f/13 2X Macro Probe › WIDE-ANGLE ZOOM LENS Sigma 16-28mm f/2.8 DG DN | Contemporary › STANDARD ZOOM LENS Sony FE 20-70mm f/4 G › TELEPHOTO ZOOM LENS Tamron 50-400mm f/4.5-6.3 Di III VC VXD › SUPERZOOM LENS Sigma 60-600mm f/4.5-6.3 DG DN OS | Sports › CONTENT CREATOR LENS Tamron 20-40mm f/2.8 Di III VXD › DRONE DJI Mini 3 Pro › STORAGE MEDIA Lexar Professional CFexpress Type B Diamond Series › IMAGING SOFTWARE ENTHUSIAST Skylum Luminar Neo › IMAGING SOFTWARE PROFESSIONAL DxO PhotoLab 6 › PROFESSIONAL PHOTO MONITOR ViewSonic ColorPro VP2786-4K › PROFESSIONAL VIDEO MONITOR Dell Ultrasharp 34 Curved
› VIDEO ACCESSORY Zhiyun Weebill 3 › PORTABLE FLASH PROFESSIONAL Elinchrom Five › BEST PROFESSIONAL LED LIGHT Godox KnowLED Bi-Colour LED Light MG1200Bi › PHOTO SERVICE CEWE Photobook 100% recycled digital printing paper › PHOTO PAPER Hahnemühle Photo Rag 188 LayFlat › PHOTO CARDS Hahnemühle FineArt Photo Cards › FRAME DESIGN Whitewall Design Edition by Studio Besau-Marguerre › PHOTO LAB Whitewall 3D wall art configurator › DESIGN & TECHNOLOGY fotobuch.de | ColorScience Workflow | Fomanu AG › CONSUMER AI APP Picsart Photo Editor AI › PROFESSIONAL AI APP Neurapix › PHOTO SMARTPHONE Huawei P60 Pro › WORKFLOW PROVENANCE CONCEPT Adobe Content Authenticity Initiative (CAI) › BEST PHOTO EVENT Photopia Hamburg
› APS-C ENTRY-LEVEL CAMERA Canon EOS R50 › APS-C EXPERT CAMERA Fujifilm X-T5 › APS-C PROFESSIONAL CAMERA Fujifilm X-H2S
› APS-C VLOGGER CAMERA Nikon Z 30 › FULL-FRAME ADVANCED CAMERA Canon EOS R8 › FULL-FRAME EXPERT CAMERA Panasonic Lumix S5 II › FULL-FRAME PROFESSIONAL CAMERA Sony A7R V › PROFESSIONAL CONTENT CREATOR CAMERA Sony ZV-E1 › PROFESSIONAL VIDEO CAMERA Canon XA70/XA75 › WIDE-ANGLE PRIME LENS Sigma 24mm f/1.4 DG DN | Art
› STANDARD PRIME LENS Sony FE 50mm f/1.4 GM › TELEPHOTO PRIME LENS
Canon RF 135mm f/1.8 L IS USM › SUPER TELEPHOTO PRIME LENS Nikkor Z 600mm f/4 TC VR S
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News
Sign up now for Photo Video 24 Registration is open for our annual creative challenge on 3-4 June
of events where you can simply turn up and join in. These include chances to learn more about creating and editing video, receiving expert feedback on your images, software advice and themed photo walks around Cambridge’s historic and picturesque streets. Naturally, the PN team will be on hand, as well as MPB staff, to ensure you have a day to remember. Don’t delay, register today and we look forward to seeing you in June! photographynews.co.uk
WE ARE DELIGHTED to announce that registration is open for Photo Video 24, sponsored by MPB. This year’s 24-hour creative challenge, which takes place on 3 and 4 June, sees us leave the capital for the first time, moving instead to the beautiful city of Cambridge. You must register to attend, but with places strictly limited we would suggest doing this very soon! Head to photographynews.co.uk and follow the link to our Eventbrite page, where you can book your place and sign up
for activities during the day. We’ll be offering both free and paid-for events all throughout the 24 hours. Highlights include a guided walk with a street photographer, a chance to climb high above the city streets for a bird’s-eye view, a landscape masterclass in Grantchester with an award-winning photographer, plus a visit to the nearby Imperial War Museum for a themed portrait shoot with a model and Hawker Hurricane. Alongside the bookable activities, there will be a whole programme
BRIDGE ON THE RIVER CAM The Mathematical Bridge at Queens’ College is one of many endlessly photographable landmarks dotted around Cambridge
Top-of-the-range ZV-E1 brings full-frame benefits to those who primarily create video Sony launches high-quality vlogger camera ZV-E1 KEY SPECS › Sensor 12.1-megapixel back-side
can deliver 4K/60p, while 10-bit 4:2:2 footage records without the need for pixel binning. Vlogger-centric functions include the Cinematic Vlog Settings, which enable users to film movie-like footage by choosing a suitable ‘Look’ or ‘Mood’. Looks control how colours and tones are rendered, while Moods give the user the ability to change features including AF transition speed. Further enhancements are offered by ten Creative Look presets. Much like the A7R V tested in the last issue, the ZV-E1 uses AI to improve AF performance. Human pose estimation can calculate body movement, even if the subject is moving away from the camera, plus the AI works on non-humans – birds, animals and vehicles – in order to deliver more consistent AF results. AI is also employed by the Auto Framing option, which automatically crops the frame to keep subjects prominent: perfect for interviews or solo vlogging. For those who like to work handheld, the camera uses a five-axis stabilisation system that provides up to five stops of compensation, plus it uses a three-capsule microphone with variable directivity. The mic design is claimed to help reduce background noise, especially in
Sony has recently announced a full-frame, interchangeable-lens camera that’s designed primarily for vlogging. The ZV-E1 is claimed to be the smallest and lightest camera of its kind, offering a back-side illuminated 12.1-megapixel CMOS Exmor R sensor that delivers over 15 stops of dynamic range. It uses Sony E-mount and the Bionz XR image processing engine. The sensor and processor combination is designed to deliver high sensitivity and low noise, making the ZV-E1 suitable for a broad range of applications. Sony says the camera boasts eight times more processing power than previous versions. In turn, this improves gradation rendering, colour reproduction and noise performance. It also means the camera
illuminated CMOS Exmor R › Sensor size 35.6x23.8mm › Video 4K/60p (upgradeable to 4K/120p), Full HD at 120p › Rear LCD 3in touchscreen with 1.036m dots › Shutter speeds Stills: 30secs to 1/8000sec, movies: 1sec to 1/8000sec › ISO range 80-102,400 (expandable to 40-409,600) › Weight 483g (with battery and memory card), 399g (body only) › Dimensions (wxhxd) 121x71.9x54.3mm › Price £2350
LEVEL UP Want to improve your footage? You’re in luck – the ZV-E1 is made for content creators
outdoor or windy environments. A windscreen is also provided. Commenting on the launch, Yann Salmon- Legagneur, head of marketing at Sony Europe, said: “The ZV-E1 is designed to deliver the ultimate experience for vloggers looking to elevate their content. This is an incredible product for those who want the ultimate vlog camera, powered by AI technology to deliver the best in content.” The camera will be available this month for around £2350. sony.co.uk
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Sigma boosts mirrorless range with three primes Full-frame and APS-C users both catered for by new additions to the beloved lens company’s Contemporary range
Bristol Photographic Society is hosting a one-day event on Sunday 21 May in memory of its former president and one of its longest-serving members, Bob Faris FRPS MPAGB AFIAP, who died in 2021. The event will feature presentations by Joe Cornish and Michael O’Sullivan and is free to attend. Spaces are limited, so attendees should book through the Bristol PS website linked below, where they will also find complete details for the day. bristolphoto.org.uk/bob-faris-memorial-event Bristol PS remembers Bob Club news Cambridge Camera Club will be holding its first in- person annual print exhibition for three years from 24-29 April. Taking place in the Pitt Building in central Cambridge, it’s open from 1-5pm on Monday 24, 10am- 5pm on Tuesday 25, 10am-8pm on Wednesday 26 and 10am-5pm from Thursday 27 to Saturday 29 April. Admission is free. cambcc.org.uk Cambridge CC hosts annual exhibition Members of Bromsgrove Photographic Society were pleasantly surprised by an invitation from the Bromsgrove & District Indoor Bowls Club to host an exhibition in the latter’s clubhouse. The idea was the brainchild of Ian Bowes (pictured), a member of both clubs, who saw the high footfall of club members and visitors as the perfect opportunity to showcase the Photographic Society’s images. Even as the display was being set up, members of the Bowls Club came over and admired the images on display. A potential opportunity for further club collaborations? Email bpscontact1@gmail.com if you wish to know more about Bromsgrove Photographic Society. bromsgroveps.com Bromsgrove PS bowled over by response
The 50mm f/2 offers an alternative to an own-brand standard lens that’s suited to a wide range of applications, including portraiture. Like the 17mm, it uses SLD and aspherical elements, and offers Direct Manual Focus as well as the ability to switch between non-linear and linear focusing via Sigma’s optional USB dock. The 23mm f/1.4, meanwhile, is designed for APS-C mirrorless cameras and will be available in L-Mount, Sony E-mount and Fujifilm X Mount. Weighing just 340g, it offers the equivalent to a 35mm lens in confirmed for Sigma’s first Nikon Z series- compatible mirrorless lenses, reported on last issue. The 16, 30 and 56mm f/1.4 lenses will be available from 21 April at £450, £350 and £450 respectively. sigma-imaging-uk.com “The 50mm f/2 offers an alternative to an own-brand standard lens” full-frame and expands the range of f/1.4 lenses in the company’s Contemporary line-up to four, joining the existing 16, 30 and 56mm optics. The L-Mount and Sony versions will be available in April, while the X Mount model will follow this summer. Finally, prices and availability are
SIGMA’S CONTEMPORARY LENS range has been bolstered by three new primes, including two full-frame optics and one for cropped sensors. The 17mm f/4 DG DN, 23mm f/1.4 DC DN and 50mm f/2 DG DN will all be available from 21 April with a recommended retail price of £550, £450 and £650 respectively. The 17 and 50mm lenses are both full- frame and will be available in L-Mount and Sony E-mount, with the 17mm f/4 targeting both landscape and travel photographers thanks to its compact dimensions and light weight. It measures 48.8mm in length and tips the scales at just 225g. Despite its small proportions, the lens uses SLD glass elements to deliver high detail and reduce aberrations. It focuses down to 12cm and features a dust- and splash-proof mount.
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t A Samsung memory card! WIN! Hobolite shines light on design
JKGMSTOOBVN EPACSDNALVC PKSALFRBDHW O W J B M H I S G W X LKOFOTVFUAC AEWBUMEOXTO RFFGNGRRBEW I T V J T I T E U R A SRNSARAGSPT E I M U I U Y R A R E R P V N N C I O N O R TOARCKZUDOF H D L I M S R N W F A I H L S I A K D I L L LPEESCXECEL LYYLTKPVHCQ SROODTUOENT F I L T E R S M S Z L With the need for superfast, high-capacity memory greater than ever, the Samsung 256GB Pro Plus microSD card could be just the ticket – and here’s your chance to win one. Boasting up to 160MB/s read and 120MB/s write speeds, the card is ideal for expanded mobile device storage and capturing quality photos or 4K UHD video. Complete the word search below, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@photographynews.co.uk with that word in the subject box by 8 May 2023 and the winner will be drawn at random from all the correct entries received. Only entries from UK residents will be accepted. Congratulations to Rosanne Francis, who was our winner from issue 104. The missing word from issue 105 was ‘Sandisk’. samsung.com/uk/memory-cards
New name in lighting targets form-conscious photographers, videographers and creatives
tripods and collapsible modifiers, reducing the amount you need to carry. Kits start from £299 and lights from £269. The Hobolite range is available from leading retailers across Europe or via its website. hobolite.eu
HOBOLITE IS A brand created by artists, for artists. It produces powerful, finely crafted lighting and accessories for photographers, videographers and content creators on the go. Hitting the ground running, its lighting has picked up a few awards already after launching in both the US and Asia. Lumesca Group will distribute the range across the UK and Europe. Three flagship models – Mini, Avant and Pro – range in power from 20 to 300W, offering light output from 2700 to 6500K with high-CRI performance. They offer diffused light that’s softened with smooth shadow transitions. Lightweight and compact, they are suited to transient creators who also prefer a design- centric appearance. The lights work together cohesively in one smart system, optimised for ease of set-up and on-location mobility. The kits include a light and Hobolite accessories such as carbon-fibre
GOLDEN AGE The range combines professional lighting with a classic look
Editorial team Editorial director Roger Payne rogerpayne@bright.uk.com Chief sub editor Matthew Winney Sub editor Ben Gawne Junior sub editor Lori Hodson Contributing writers Will Cheung, Adam Duckworth, Samara Husbands, Katie Kasperson
Design team Design director Andy Jennings Design & ad production Hedzlynn Kamaruzzaman and Man-Wai Wong Distribution Distribution and subscription manager Phil Gray philipgray@bright.uk.com Publishing team Managing directors Andy Brogden & Matt Pluck As well as your local camera club, you can pick up Photography News in-store from: Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wex Photo Video, Wilkinson Cameras
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Competitions
Prize-winning inspiration
Fire up your creative mindset by studying successful images from prestigious photo competitions the world over. This month, we highlight winners spanning the open category of the Sony World Photography Awards 2023
N atural world & wildlife: Dinorah Graue Obscura, Mexico Mighty Pair, a classy black & white portrait taken during an outing to south Texas. It features two crested caracara birds standing still and looking out beyond the camera in the same direction, as if posing for the photographer. O bject: Mieke Douglas, Netherlands All is not as it seems in Recycled – a shot of flower-like plastic bags and tulle arranged as a bouquet. Douglas placed gift wrapping on an office scanner for these works. P ortraiture: Sukhy Hullait, UK Charlie, a centre-frame portrait of a young teenager who, along with his friends, decided to turn an abandoned pub car park into a skatepark when most of them were closed during the pandemic. S treet photography: Andreas Mikonauschke, Germany Exhausted, an evocative black & white portrait of men at the point of collapse. The traditional Easter processions of Semana Santa in Andalusia see these volunteers carrying heavy biblical statues on vast wooden frames in a procession through their town. T ravel: Max Vere-Hodge, UK Ghosts, a dramatic black & white photograph of the Mundari tribe of South Sudan, appearing among the nightly fires they light to keep tsetse flies and mosquitoes off their beloved Ankole-Watusi cows. The overall winner of the open category is due to be announced at the awards ceremony in London later this month. A selection of winners and shortlisted images will be displayed at the Sony World Photography Awards exhibition at Somerset House from 14 April to 1 May. For more on winners and shortlists, visit the website below. worldphoto.org “200,000 from the submitted 415,000 were entered into the competition”
WORDS BY SAMARA HUSBANDS
THE WORLD PHOTOGRAPHY Organisation has announced the winners (and shortlist) of the open category for this year’s Sony World Photography Awards. Now in its 16th year, the competition recognises the best single shots from the past year in ten categories: architecture, creative, landscape, lifestyle, motion, natural world & wildlife, object, portraiture, street photography and travel. This contest gives global photography a voice, while providing vital insight into contemporary image making. A total of 200,000 from the submitted 415,000 were entered into the open competition. Each winner receives digital imaging equipment from Sony and will progress to compete for the prestigious Open Photographer of the Year title and a $5000 cash prize. See the winners: Architecture: Mark Benham, UK The Silos, a collage-like image of silos and surrounding buildings in eye-catching rosy hues at the port of Brest in France. C reative: Boris Eldagsen, Germany The Electrician, from the Pseudomnesia series: a haunting black & white shot of two women from different generations, brought to life with the careful use of AI image generation. L andscape: Giorgos Rousopoulos, Greece Greek mountain landscape featuring a hiker climbing Mount Tymfi – which stands majestically in the background and overlooks Pindus National Park. L ifestyle: Azim Khan Ronnie, Bangladesh Childhood, a photograph of children weaving in and out of scores of giant cones (topas) in a Bangladeshi rice processing plant as they play with a cart used by workers to carry and dry rice. M otion: Zhenhuan Zhou, China Slam on the Brakes, capturing a cowgirl in a barrel racing contest in Ontario, Canada. For these events, riders race around a twisting course marked out with barrels – and the breakneck pace lends itself to truly dynamic shots.
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WhiteWall
ADVERTISEMENT FEATURE Show your true colours Spruce up any space with WhiteWall’s bespoke frames, made in collaboration with Studio Besau-Marguerre
artworks were often designed after the fact to match the frame, rather than the reverse. Frames have a symbiotic relationship with what’s within, guiding the eye and subtly altering the way a picture is perceived. Similarly, photography and design elevate one another as forms of artistic expression. With Design Edition, customers can enhance any photograph with a pop of colour, while still letting it speak for itself. “Giving frames colour might initially seem like a rather mundane task,” laugh Besau and Marguerre – but the creative process relied on an applied understanding of colour theory and how multiple aesthetic elements interact in a given space. According to Studio Besau- Marguerre, building the frames was an iterative and challenging operation. Firstly, the designers researched the history of frames, using their findings to inform a modern solution. Then, they tested each frame ‘prototype’ with various types of photography – travel, nature,
THE DAYS OF displaying your images in black, brown or silver frames could be over thanks to WhiteWall. Its new Design Edition frames, produced in collaboration with Studio Besau-Marguerre, offer a refreshing alternative in three vibrant colours: yellow, green and purple. The interdisciplinary studio, manned by Marcel Besau and Eva Marguerre, combines clean, contemporary design with high- quality craftsmanship. It brings a holistic, intuitive approach to each project, be it product or interior design, and capitalises on every client’s strengths. For WhiteWall, that’s premium products, in-house manufacturing and innovative printing technology. Design Edition prioritises the frame in a photograph’s display. During the late 12th through to the 16th centuries – the Gothic period – frames were considered works of art within themselves, and their makers would include their initials on the final product. Frames held a higher value than they may today;
“The frame becomes a special piece that engages in an exciting dialogue with the photograph”
range of sizes and styles. Frames start at just 15x15cm and go as large as 180x120cm – well-suited to both tight and open spaces, and ready to be mixed and matched. Photographs can be set behind acrylic glass, for example, or as a classic matted frame. Each measures 20mm deep, creating a three-dimensional effect. Display photos three ways and shift the mood of any room. Each frame can create harmony between light, furnishings and other interior elements. Brighten up your space just in time for spring and summer, or keep it cool with a more muted palette. “The frame is intended to become the hero, a special piece that engages in an exciting dialogue with the photograph,” Besau and Marguerre explain.
architecture, portraiture – as well as photos in colour and monochrome. Finally, they fine-tuned the technical aspects of the frames and settled on three colour schemes. Each scheme is derived from a single shade of yellow, green or purple. No two sides are the same, with each frame creating a colour gradient – or ‘family’. “Green is restrained, purple is strong and loud, yellow is trendy yet contemporary,” Besau and Marguerre explain. All three manage to be bold yet neutral, complementing an image and drawing attention without ostentation. The dark-to-light gradient creates an optical effect where each frame comes alive. Customers can choose from the three colour families, as well as a
The WhiteWall x Studio Besau- Marguerre collaboration, Design Edition, is available both in stores and online. Frames start at £59.95 and will deliver in an estimated 12 working days. Winner of the 2021 Technical Image Press Association (TIPA) award for best photo lab, WhiteWall offers a range of other products and services, including canvas and giclée prints, coffee table books, calendars and more. Visit whitewall.com or email info@whitewall.com for additional information.
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WORDS & IMAGES BY WILL CHEUNG Canon EOS R8 CANON.CO.UK The EOS R8 is Canon’s lightest ever full-frame camera, packing a long list of features aimed to please stills and video creators – and all at a rather reasonable price
Big test
PRICE: £1699
SPECS › Price £1699 body only
› Resolution 24.2 megapixels › Sensor 35.9x23.9 CMOS with Digic X image processor › File types 14-bit Raw and CRAW with first curtain electronic shutter, 12-bit with electronic shutter, 10-bit HEIF, 8-bit JPEG › ISO range 100-102,400, expandable to ISO 50-204,800 › In-body image stabiliser None › Storage Single SD card › Shutter Electronic first curtain: 30-1/4000sec, bulb, flash sync 1/200sec or slower Electronic: 30-1/16,000sec › Exposure system PASM, flexible priority AE, scene intelligent auto, two custom modes. 384 zone – evaluative, spot, partial, centre-weighted › Exposure compensation +/-3EV › Monitor 3in touchscreen, 1.62m dots › Viewfinder 0.39in, 2.36m dots › Focusing Dual Pixel CMOS AF II with -6.5EV to 21EV working range at ISO 100. 1053 AF zones when auto selected, 4897 AF positions in manual single AF point › AF subject detection Humans (eye, face, head, body), animals (dogs, cats, birds, horses), vehicles (cars, motorbikes, aircrafts, trains) › Drive modes 6fps with electronic first curtain and speed maintained for 1000+ shots in Raw, CRAW and JPEG. 40fps with electronic shutter, up to 120 JPEGs, 56 Raws and 100 CRAWs › Pre-shot mode Raw burst 30fps with 0.5sec pre-record for max approx 158 frames › Video 4K UHD (16:9) 3840x2160 (59.94, 50, 29.97, 25, 23.98fps) 4K UHD cropped (16:9) 3840x2160 (59.94, 50, 29.97, 25, 23.98fps)
CANON HAS BEEN busy recently. We have seen a spate of camera launches in both APS-C and full-frame formats, and its current mirrorless line-up has a model for most photographers. The EOS R7 and EOS R10 were the brand’s first APS-C mirrorless models, the EOS R6 Mark II was a step on from its predecessor – and now we have the full-frame EOS R8. With a body selling at £1699, or £1899 with the new RF 24-50mm f/4.5-6.3 IS STM, the R8 sits in-between the EOS RP at £1049 body only and the EOS R6 Mark II at £2779. Canon makes a big point about the R8’s lightness, and it’s compact in stature, too – noticeably smaller than the EOS R5, for example. Body layout and control design are very Canon, but there are key changes compared to older models. A big one for me is the R8’s on/off switch positioned on the right side – a much-needed design tweak that has also been implemented on the R7, R10 and R6 Mark II as well, with varying degrees of success in terms of usability. It’s possible to carry the R8 in the hand and switch it on as the camera is brought up to the eye in one fluid movement, so it’s a welcome change for street shooting. The smaller body may not suit those with larger hands, but I found it just about perfect, with no issues at all getting a firm, stable shooting grip. As there’s no in-body image stabiliser – to keep the camera’s price and size down – this is a good thing.
The body’s right side is finished off with the exposure mode dial, M-Fn button, movie record button and two command dials – typically Canon, so no issues here. The M-Fn button does work slightly differently and the feature options are scrolled through with a push of the same button rather than a command dial. On the left, the stills/movie switchover control is definitely a nod to the R8’s hybrid aspirations. This method of swapping between stills and movie modes is speedy, intuitive and better than certain other Canon models. The camera’s back is classic Canon too, with buttons for exposure lock, AF area select and so on. An AF-On button is fitted, although it’s rather too far to the right. I would have
A lock setting sits between the on and off positions, enabling key controls to be locked, with a menu item that features the settings this is compatible with. With its more compact body comes a smaller handgrip and, in turn, a smaller battery. The LP-E17 used here gives a claimed 370 shots using the LCD and 220 with the EVF. The EOS R8 supports charging with a suitable power bank or mains charger and cable. In practice, I got good use from a charged cell, shooting 500 stills with a mixture of LCD and EVF use and several movie clips – plus I spent time fiddling with the menu and reviewing pictures before needing the power bank. LP-E17 cells cost £45 each, so a spare or two isn’t painful.
4K UHD Timelapse (16:9) 3840x2160 (29.97, 25fps)
Full HD (16:9) 1920x1080 (179.82, 150, 119.88, 100, 59.94, 50, 29.97, 25, 23.98fps)
Full HD Timelapse (16:9) 1920x1080 (29.97, 25fps) › Battery Li-ion LP-E17 type
preferred it to be 1cm to the left to fall naturally under my thumb. What’s missing on the R8 – and another cost-saving measure – is a focus joystick to quickly move the active AF point around the image area. This is now done with the four- SENSOR CARE Remove the lens and the full-frame sensor is revealed; there is no protective cover as seen in more expensive models
› Connectivity Wi-Fi, USB 3.2 Type C, HDMI Micro out, 3.5mm mic, 3.5mm headphone, RS-60E3 remote terminal › Other key features 22 custom functions, water/dust resistance › Dimensions (wxhxd) 132.5x86.1x70.0mm › Weight 414g (body only) › Contact canon.co.uk
REAR VIEW There’s no focus joystick on the EOS R8. To adjust AF point, the four-way D-pad can be used, or touch and drag AF on the monitor
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PERFORMANCE: FOCUS STACKING Focus bracketing is not new on Canon mirrorless cameras – but focus stacking is. The APS-C EOS R10 and EOS R7 both have it, and the feature is now on the full-frame EOS R6 Mark II and EOS R8. To test it, I used a Canon 100mm macro lens and a tabletop scene with the camera fixed to a tripod. The set-up was about 12cm from front figure to apple. For my first attempt, I left the focus increment setting to the default and set 50 exposures. To give the feature a good test, I set the lens aperture at f/4 for a shallow depth-of-field and then focused on the front figure. In the menu, I enabled exposure smoothing and Depth Compositing, which is Canon’s term for focus stacking. Using the self-timer, the camera took just over a second to complete the 50 shots with its electronic shutter. I got an error message on the first attempt suggesting I change the aperture and that a stack wasn’t possible. However, a successful stack was present on the memory card when I checked. I set 40 frames on the second attempt and the camera’s buffer is big enough to cope without a halt. Shoot more – the limit is 999 – and the buffer will slow things down, so a tripod and static subject are needed. Handheld focus stacking with fewer frames should be possible, but I didn’t get to try it in a real situation. After the exposure sequence, the camera takes a second or so to process the images and produce a finished JPEG. The component files, Raws and JPEGs are written to card, so if the composite is sharp, you know that the in-computer stack will work, too. Focus stacking is a welcome feature that will be popular with macro and landscape photographers, and the EOS R8 worked fine with my little set-up. The only issue with my result was evidence of banding from the camera’s electronic shutter and LED lights. Flash is not an option with the EOS R8’s electronic shutter.
ALL ABOARD! Steam engine crew member captured with the EOS R8 fitted with the RF 14-35mm f/4 lens. Exposure was 1/640sec at f/5.6 and ISO 400. The Raw was edited to taste in Adobe Lightroom
FIRST IMAGE
FINAL IMAGE
FINISHED IMAGE
WAITING FOR WORK Shot with the RF 24-105mm f/4 zoom at 77mm. Exposure was 1/1000sec at f/4.5 and ISO 1600 with the shutter released by touch
information panel and a completely blank screen. As far as connectivity goes, there is Wi-Fi, low-energy Bluetooth and a useful array of inputs, including separate headphone and microphone mini-jacks, USB-C and mini HDMI. The camera houses a full-frame 24.2-megapixel sensor – the same as “ON THE WHOLE, THE AUTOFOCUS SYSTEM WORKS REALLY WELL, AS I WOULD EXPECT FROM CANON”
JPEG, PNG or in 8-, 10- or 16-bit TIFF. In Windows, they can be opened with the Photos app. CRAW is a lossy compressed Raw format that Canon introduced in 2019 and has been an option on its cameras since. For this test, I shot the same scene in both formats on a tripod-mounted camera and then compared the processed files. The CRAW file was 20MB while the full Raw was 31.5MB, and closely checking the processed files on screen in Photoshop showed negligible differences. In fact, it was only at 300% on screen that I could see that the CRAW had a little less detail and slightly more noise in the shadows, but we are deep into pixel peeping territory here. Unless you are shooting very contrasty scenes
way D-pad. While this is perfectly serviceable, I needed a shift in grip to get my thumb into position. The other option is using the monitor and touch and drag AF setting. The screen is a swing-out-to-the- side type, the style currently favoured by camera makers for models with hybrid aspirations. User customisation potential is decent enough, but some extra function buttons wouldn’t go amiss. For example, there’s no depth-of-field preview to reconfigure. One feature I like is the editable quick-control menu. The full array of options can be slightly daunting, but removing some of the items that I never use gave a much cleaner view. There is also the usual selection of view modes, including the
that of the EOS R6 Mark II – with an impressive low-light working capacity and an ISO native range which tops out at 102,400, with expansion to H1 giving the equivalent of 204,800. Images are saved to a single SD card located next to the battery and accessed through the camera base. For stills capture, there’s the option of JPEGs or memory-saving CRAW as well as full Raw, both 14-bit with the mechanical shutter and 12-bit with the electronic shutter. Set HDR and HEIF shooting is possible, but Highlight Tone priority should be enabled for the best results. HEIF gave 10-bit compressed files between 6-20MB, so a similar size or larger than JPEGs, which were 7-14MB. On a Mac, HEIF files can be opened in Preview and saved as
at higher ISOs and making very big prints, I think CRAW is a perfectly good format to standardise on, with the added attraction of getting more shots on the card and in continuous shooting before buffering. The EOS R8 has an electronic first curtain shutter assembly instead of offering a true mechanical shutter option. We tested the camera’s drive speeds using a ProGrade Digital 128GB 300MB/s SD card. With the electronic front shutter, the fastest continuous shooting rate is a claimed 6fps in H+ drive mode – and that was spot on in our test. With the full electronic shutter, a top rate of 40fps is claimed, and again the figure was correct. Canon claims 1000+ shots in JPEG, CRAW and Raw at 6fps. In my test,
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fully depressed. At that point, images from the previous half a second are written to the card and more shots are captured until the bar indicator in the viewfinder turns red. Then, the camera stops working and you have to wait for the buffer to completely clear, signified by the bar indicator turning green. In pre-shot mode, you don’t get a series of individual files. Instead, you get the burst as one file – and reviewing the pictures in-camera lets you scroll through and extract images as JPEG, Raw or HEIF. JPEG and HEIF can be edited for brightness, picture style, white-balance and high-ISO speed reduction, but when saving to Raw no adjustments are possible at this stage. Working in-camera is a slow, tortuous process that consumes
battery power – but it doesn’t get much quicker on a desktop. This process is possible in Canon’s free Digital Photo Professional (DPP) software using the Raw Burst Image Tool. The files have a CSI prefix and can’t be opened in Photoshop. Of course, it is a completely subjective matter, but personally I prefer to see and work with a pre- shot sequence as thumbnails on a large screen in Lightroom, so I can quickly compare and pick the shots I want to keep. In DPP, you have to scroll through images one at a time and can’t directly compare shots. Then you have to save each file one at a time rather than the full burst or a selected sequence in a batch. With upwards of 30 shots to go through for each burst, it’s a slow process. Use pre-shot a number of times in a shoot and be prepared for a significant session at the computer. Pre-shot is a great feature, but Canon could learn a lot from OM System’s implementation of its Pro Capture mode – where each shot is saved individually. Or at least provide a less clunky workflow solution. Canon has developed its AF a significant amount with its last few models, and even its relatively low-cost APS-C format EOS R7 has a very capable system with technology from high-end models. The EOS R8 keeps the trend going using the Dual Pixel CMOS AF II sensor with deep learning and the latest subject detection and tracking technology. Body, head and eye detection work in all modes for stills and video, and
I fell short of that figure with 203 Raws before it paused, although with CRAW I got to 400 shots with the camera still going strong. Shooting normal Raws on the electronic shutter, I managed 40 shots instead of the claimed 56 at 40fps – and then the camera paused for a second or two before the buffer started to empty. With CRAWs I got 50 frames and with JPEGs I got 78, in comparison to the 100 and 120 respectively claimed in the specs. Whichever shutter you’re using, if you shoot until you hit the buffer there is a slight delay before it starts to empty, taking around ten seconds to fully clear. By shooting in short rather than prolonged bursts, it’s possible to capture a large number of shots without hitting the buffer. A 30fps Raw burst mode is available with the electronic shutter – and here, pre-shooting is possible. In pre-shot mode, partial depression of the shutter release means shots are being captured but not recorded to card until the shutter button is POWER UP The EOS R8 uses the LP-E17 battery that can be charged in-camera via the USB-C port. A mains charger comes with the camera
DINING OUT The EOS R8 does not have in-body image stabilisation, but its soft shutter action helps with sharp shooting at slow shutter speeds. Here, 1/25sec was used at f/5.6 and ISO 6400. No noise reduction was applied
subject detection has an expanded repertoire of subjects. This includes horses, cats, dogs and birds under the animal detection setting, and in vehicle detection there are modes for planes, trains, cars and bikes. Specific subjects aren’t selectable, so you have to rely on the camera to work out which it sees. I tried vehicle detection on trains, cars and planes, and the camera had no problem recognising a black cab, train and Airbus A380. In animal detection, it switched from cat to bird easily enough. An auto setting is available, using a switch detection algorithm to automatically change between subject detection settings. I have to say that, on the whole, the autofocus system works really
well – as I would expect from Canon. I didn’t have the camera long enough to try it with flying birds and a long lens, but for general shooting of a good mix of subject matters in different lighting conditions, the autofocus was prompt and accurate. Subject detection wasn’t infallible, and in people detection mode, a busy scene can often confuse the camera. Also, the AF system – as with other Canons – doesn’t always recognise a blurred subject in the foreground. I prefer single AF point mode, although it was interesting having an option to set people detection in the menu so the camera automatically switches to face/eye detection regardless of which focus area is engaged. Clearly, it depends on
LET’S CONNECT The R8 demonstrates how it aims to appeal to hybrid users with a mic input, headphone output and mini HDMI connector
PERFORMANCE: ISO
1600
100
800
3200
6400
12,800
examined at 100% on-screen, detail looked especially crisp and clear. A high level of image quality was still experienced at ISO 6400 – and this was without any software noise reduction applied. Out of interest, I put the ISO 6400 and 12,800 TIFFs through Topaz DeNoise AI (PureRaw 3 was not compatible at time of testing) and they cleaned up very nicely indeed. Even with shots taken at such high speeds, the shadows of our test scene looked incredibly clean and noise free, and detail was nice and crisp.
The EOS R8 is endowed with an impressive native ISO range extending from 100-102,400 with expansion to ISO 50 and 204,800 equivalents. Our test shots were full Raws taken with no in-camera software – and no noise reduction was applied at any point. With its impressive native ISO range, it was no surprise to see the EOS R8 doing particularly well at higher speeds. Images were very clean up to ISO 800, showing only faint graining by ISO 1600 – though this became more obvious at ISO 3200. Even at this speed though,
25,600
51,200
102,400
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PERFORMANCE: EXPOSURE LATITUDE
GREAT SCOT! The Royal Scot 46100 at Appleby, en route to Carlisle. An RF 14- 35mm f/4 lens at 35mm was used with an exposure of 1/800sec at f/8 and ISO 400. The Raw was edited to taste – the highlights and shadows were adjusted. The tiny dots are raindrops!
the camera. It worked very well on a cat in poor indoor lighting, too. Overall, the EOS R8 acquitted itself superbly, with nothing seriously off-putting either in use or from the results – which were impressive. One of several highlights is the advanced AF system, which is excellent on a camera at this price. PN
how you like to work. You might not want the camera switching to face detection when you are set up to a single point, but it can definitely work as a benefit. Face/eye detection is impressive, sensitive, efficient and works from a good distance. I had accurate eye detection with a subject 8-10m from
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Final word
Verdict The Canon EOS R8 is a capable camera with smart and accurate AF and impressive ISO that’s great for travel. Its price is a strong attraction, and will appeal to aspiring Canon full-frame converts, as well as existing system owners seeking a second body. My time with the R8 was short, and though I got to try it in a variety of situations, I didn’t test it as extensively as I would like. That said, it performed very well, giving excellent results. 24 /25 FEATURES It’s well-endowed, but Canon has ditched features like IBIS and a focus lever to keep the price and size down
0
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+2
24 /25 HANDLING
Generally very good, but no focus joystick is a negative, and a couple more customisable buttons would have been nice
We tested the exposure latitude of the EOS R8’s Raws by shooting a ±4EV bracket in 0.3EV steps at ISO 100 in manual exposure mode. On a sunny day, the metered correct exposure was 1/250sec at f/8 and the Raws were exposure corrected in Adobe Lightroom. Tolerance to overexposure was pretty good, with the +2.3EV shot recovering to look identical to the correctly exposed frame. Any more than this and the highlights looked veiled, although the shadows were fine. Underexposure tolerance was much better, and even the -4EV frame could be successfully recovered in software with little gain in digital noise. In fact, you need to check files at 200% to see any noise, so this is a creditable performance.
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24 /25 PERFORMANCE
The EOS R8 turns in clean images with plenty of detail, and digital noise is not an issue until you get to very high ISOs
23 /25 VALUE FOR MONEY
The EOS RP is still available, so you could go Canon full-frame for nearly half the cash, but the EOS R8 is four years newer
95 /100 OVERALL
There’s much to like about Canon’s latest full- framer. It is a capable performer, handles well and is compact
THERE’S NEVER BEEN A BETTER TIME TO MAKE GOOD USE
PROS Price, lightweight, decent sensor, weather and dust resistance, high frame rate with electronic shutter, good high-ISO performance, in-camera focus stacking, USB-C charging CONS No IBIS, Raw burst/pre-shot not user-friendly, no high-res mode, single card slot, no focus lever
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