Based on our preliminary review, I thought it would be fairest to actually review mendr by creating a customer profile and using their service. I've spoken a few minutes about the service for professionals and spoke about how I feel Mendr will help and hurt the business. Then I followed up with a few ways you can use Mendr to increase your business. Don't fight it, learn to use it for your benefit.

Check out the video and click subscribe to our Youtube Channel!


To see a real example of how Mendr works, I used the free version. They have two ... there is the free version and then the paid version. The paid version costs between $2-20 per image.  I tried the free version and asked them to make an image of me on a camel ride through the Gobi Desert in China into something better. Here are the screen shots of what they sent me, see for yourself.

The first photograph is the original and the last is what they did with it. I'm actually impressed. Will this be great for professional images that you can use for clients? That remains to be seen but for the average customer who already have a camera in their hands, it's a great method to give their images that boost. If you're a food blogger, fashionista, business owner, or just someone addicted to selfies...this could be a life saver. 

First screen after uploading an image to Mendr App

First screen after uploading an image to Mendr App



LuMee is that company that changed the game for selfies. As a photographer, I still feel a "selfie" is the lowest form of photography, so when we received LuMee as a gift, I challenged myself to find additional uses for their hot product! 

Check out the Youtube video review and see how we used it to take product photographs, used it on our Instagram LIVE stories, and of course photographs of others. 

Check out the youtube clip to see the full review! 


To see a side by side comparison of images shot by the Lumee vs Natural light vs iPhone camera, check out the photographs of Brandon below.

(left to right: Ambient light shot on iPhone 7, iPhone 7 flash, Lumee Duo light shot with iPhone 7)

Product Photography with the Lumee Duo

Product photography, lighting by Lumee Duo (See video for full details)

Product photography, lighting by Lumee Duo (See video for full details)


We scoured the internet and camera stores to bring you the most comprehensive review of our favorite cameras to place under your Christmas Tree. The only guideline was to keep it under $1000, and in many cases try to stay in the $500-$600 mark. Other reviews can be confusing with the specs, but we decided to describe to you the same way we'd describe to a easy to understand terms and just getting to the point. 


The Nikon D3300 is the choice for the best CHEAP DSLR. Why? For the value it’s an excellent choice with great performance for an entry-level camera, high value, and high resolution. You should know there is no wifi on this camera, but for the price you can slide the memory card into your reader and download away. It's low on the features but a very solid choice for a first time DSLR. 

Why buy it? If you're a beginner and want a quality brand that will always be relevant, consider this. You'll have a chance to grow with the brand and keep upgrading over the years. It's for the person on your list who loves photography and you want to encourage them without breaking the bank. you can get beautiful imagery here, 



Sony A6000 is feature heavy and boasts an incredibly fast continuous shooting speed for the price and it's a beautiful design. What I dislike about it is the time it takes to start-up (bad for soccer mom types who need to be quick, but generally OK for everyone else). In low light it's not the best image quality, but again... for many users that's not a deal breaker. Bottomline it's a great overall camera for more advanced photographers and want a smaller unit capable of fitting in their purse or backpack. 

Why buy it? Because Sony is a brand we believe in. It's a small, powerful, easy to take to any location and Sony isn't hoarding technology like some other brands... (I'm looking at your Canon). 


Sony A6300 is my new favorite camera. In fairness you should know that I am the owner of a Sony A6300 and my review may be slightly biased. Then again, I'm a real customer and you might want to hear what I have to say. The A6300 delivers first rate photo and video quality, and comes with a plethora of features. In fact it comes with so many, you probably will not even use all of them. The mirrorless camera with interchangeable lens. Personally I use a Metabones adaptor and use my older Canon lenses. This is my first camera outside of Canon and I am considering staying with Sony if they continue their innovative path.

Why buy it? It's small, discreet and looks like a small point-and-shoot but delivers the punch of a professional camera. It also shoots 4K, perfect for documentary making!  It's also great for the person who understands cameras, they want to play with interchange lenses, plan on filming with this as much as they use it for photography. It's pretty much a professional camera at a great price!


Canon EOS 70D is a staple from the camera powerhouse. Even though Canon is lagging lately with their innovation, the 70D is still a solid choice for the hobbyist and prosumer photographer.  What I like about the 70D is that it delivers an amazing autofocus and the camera itself is fast on many features. I dislike that it's too expensive for what it really offers. It's also not the most user friendly on wifi, card slot, and menu. 

Why buy it? Buy it if you insist on Canon and want an excellent camera with a proven track record. But if you want to stay under the $1K mark, you'll need to factor in lenses for this guy. Expect a decent lens to be over the $400 mark.


Fuji Film X-A3 newly available in America at the end of October is almost identical to its predecssor the X-A2, even though it had a slightly higher launching price. It's an entry-level mirrorless but do not let that scare you, as entry level cameras have become more sophisticated. They've worked on the resolution to go from 16.3 Megapixels to 24.2, added a touch screen to the LCD, increased video from 1080/30p to 1080/60p and added panorama for outside enthusiasts & time-lapse. For those wanted to add an external flash, it does come with a hot-shoe, stereo audio, up to 25600 ISO, 6 fps for burst shooting, and has wifi. 

Why buy it? Because just like Sony, Fuji is taking leaps and bounds in the camera game. They're bringing out innovation at a cheaper price, beautiful cameras, and offer excellent features for the prosumer level. Reacting to Canon's recent lackluster performance, Fuji is taking this opportunity to grab a bigger share of the mirrorless market. Also buy it, because it's pretty! This is a new mom/dad camera. It's quick and easy to use, light, good looking and gets the job done. When the kid upgrades to playing soccer games and running around the playground, the parents can upgrade their camera then also.


Panasonic Lumix LX7 is another camera I recommend because of how simple it is. Some would say it lacks the extensive features but does insist on an excellent photo quality, a great lens and the Lumix strengths of pervious generations. Besides a mediocre battery, I would say that it's drawbacks (lack of advanced features) are its strengths. Lets face it, 90% of us want beautiful pictures without much thought. They want to point and shoot, and we've forgotten that little part.   It has an ISO of 6400, enough to cover your basic outside BBQ and darker living rooms. 

Why buy it? Because the features that some say it lacks won't be used that much anyways. It's a beautiful camera that acts quick, has a very decent lens and takes beautiful photographs. If you want a little camera to put in your pocket and take with you to any party location, this is a good choice. I'd buy it for a person who hasn't really had a camera before and solely relies on their smart phone. It's a perfect camera for them, and will remain functional for a long time. For the person who wants an upgrade, I'd skip this and look at the Sony.


Fuji Film X70 is a really good camera with a beautiful design, manual-friendly, up to 51200 ISO, less noise than its predecessor and likely the best photo quality for its price. It comes with a lens that keeps its sharpness from from f2.8 all the way to f16. It really does well in the sharpness department! While it does boast a sharp image, the auto-focus on the camera needs more work, and sometimes even refocuses on your subject even thought they never moved. Keep in mind, in most cases people won't be doing portraits on this and shooting outside at a rather higher Fstop you won't notice it much. What I dislike about it is the lesser video quality and no built-in viewfinder like other Fuji cameras. 

Why buy it? It's a Fuji, and if there's any camera that did well in the "pretty" department it's Fuji. However, for the price you're getting a solid image. Sure people will say that autofocus is slow, but by "slow" we mean it takes .7 seconds on average. You will NOT notice the difference unless you're shooting sprinters, and in that case you will not be using this camera. Video quality is 1080/60p - for some that's perfectly OK. For others, they want 4K. Again, it's a perfect camera for the new parents and constant vacationers. 

SONY A6300 or CANON 70D

A follower of our Instagram account asked the question...

"Hey I had a question for you. I'm really into photography but since I don't have an actual camera I'm very limited. All the shots I take are with my phone. I'm really looking to buy a camera and I've been really interested in buying the Sony a6000 or Canon 70D. I'm an amature and don't really know much about cameras. Which camera do you recommend I should get? I'm still saving up, it's taking me quiet a while because I am broke. My budget is $1500. If you have any suggestions, I would love to hear back. Thanks!"

The answer varies on who are. In fairness I should mention that I’m a Canon user for the most part. I started with the 40D, then the 5D MKII & then 7D, Canon C100 and a couple Canon point and shoot cameras. I started with Canon because at the time they were leading the pack, made great cameras and the Canon store was based out of Orange County, CA. That made it easier to drop off for repairs vs. shipping anything to New Jersey for Nikon. And because of that a habit was formed to work with Canon, stay with Canon and not look back. I also admired Canon because on set that's what everyone used. It means that borrowing a battery charger or lens would be less of a hassle, should that be an issue.

In the past couple of years I noticed little excitement coming from the Canon camp. I wasn’t really looking forward to anything, but at the same time I heard Sony mentioned more in conversations. I also heard Fuji’s name pop up, but predominantly the conversations focused on Sony’s innovation and affordability, and from people whose work I admired.

I paid attention to the images produced, the people coming through my studio and what they shot with, also spoke with close friends of mine like Darcy Turenne, a filmmaker from Vancouver Canada. They all love the Sony series and for good reason. They’re the same price but the Sony is smaller, which is excellent for the photographer. Canon has wonderful features but now there's a contender on the block which could cut into Canon's market share.

I believe in Canon still, but I no longer jump at the thought of a new Canon release. On the flipped, Sony gets my interest and filled the gap Canon would not. To answer your question, I would get a Sony and I’d get for a few reasons listed below...

  • Size: The A6300 is small and size matters. If you travel, it’s easily something that goes around your neck and you don’t need additional bags for it (though it’s ideal if you got one). The small size also means you can take your camera to more places. Certain venues don’t allow professional cameras in, and the smaller Sony looks like a consumer level camera but performs like a pro.
  • Continous Shooting: 11 fps vs 7 fps. Many would wonder why that’s even an issue. It’s not if you’re with the kids at Disneyland but it’s crucial if you’re photographing a dancer, athlete, or something in nature. 
  • The ISO of the Sony is stronger than the Canon 70D. That means less grain, better photographs in darker situations. If you want to travel light with a small camera, you’ll probably want to carry less lights. The ISO of the Sony is wonderful for astrophotography or anything in the dark. 51,200 vs. 25,600...
  • 4K. Yes it’s overkill in many situations but have you ever tried to crop in on a video and suffer the blurry aftermath? 4K helps in that department.
  • Sony has a higher color depth, 24.4 vs. 22.5 of the Canon
  • Sony is actually trying to lead. Canon is playing catch up. Go with a leader.





It's called the G7X Mark II


The Canon G7X Mark II sits in Canon’s premium range of compact cameras. It’s intended to appeal to those who want a device that offers a high level of control and excellent image quality, but slots into your pocket. It could be seen as a travel compact for those who own bigger cameras, such as a DSLR or CSC.

It’s an upgrade on the G7X, bringing a series of relatively small but useful updates – although it retains the same sensor and lens as its predecessor. It features manual control and raw format shooting, making it particularly appealing to enthusiasts.


There are currently five different models in Canon’s G range of premium compact cameras. The G7X Mark II, in terms of body shape, sits alongside the G9X in offering a premium set of specifications in a pocket-friendly body. While the G9X is even smaller than this offering, the slightly bigger body means you get a tilting screen, and a longer lens.

In order to keep the size down, other trade-offs have also been made. You don’t get a fully articulating screen and, crucially, there’s no viewfinder either. If you’re an enthusiast photographer used to shooting with a DSLR or high-end CSC then this is likely to be something you’ll miss. If it’s particularly problematic, you can opt for the G5X instead.

The overall design of the G7X Mark II is pretty sleek, if arguably a little on the utilitarian side. There’s a useful grip on the front of the camera that helps it sit snugly in the hand.

Atop the camera is a dial for quickly moving between the different exposure modes on offer, while just beneath it sits an exposure compensation dial that can be very easily reached by your thumb for making quick changes.

In fact, all of the buttons are grouped on the right-hand side of the camera, which means that making adjustments is a very speedy process.

Just as you could with its predecessor, there’s a ring around the lens to make changes to the settings. By default, it will be set to alter aperture, but you can set it to another option in the main menu if you prefer – ISO, for example.

A useful switch underneath the lens dial switches off the clicking sound that the dial makes as you turn it around. Although it’s a satisfying noise and provides confirmation of setting changes, if you’re shooting a video – or taking photos in a quiet situation – it’s useful to be able to switch it off.

To change the other manual settings, you can use the scrolling dial on the back of the camera, along with a quick menu – accessed by a button marked with a “Q”. This menu features settings that you’re likely to change often, such as white balance, timer, metering and so on.

It’s worth noting that the G7X Mark II has no hotshoe to allow you to attach external accessories, such as a flashgun. A small built-in flash is present; it needs to be released via a switch on the side of the camera before it can be used.


Although there’s no EVF, the fact that the screen can tilt is helpful, both when shooting from awkward angles, and also when bright light shines on the screen; simply tilt it out of the direction of the light. The screen also faces all the way forward, making it ideal for capturing self-portraits.

The screen displays good colours, and it’s also touch-sensitive. This means you can set the AF point by quickly tapping on the screen, as well as navigating through both the quick menu and the main menu. When viewing images in playback, you can pinch to zoom to check focus, and swipe through images.


Many travel compact cameras have a huge zoom, providing maximum flexibility when it comes to taking your travel shots. However, the trade off is that they come with small sensors, which don’t produce the best image quality that a one-inch sensor can produce.

The G7X II lens is a more modest 4.2x, which is roughly equivalent to 24-100mm. By comparison with a superzoom, which offers 30 or 40x zoom, it may seem paltry. However, for most everyday shooting scenarios, it should be more than enough – and in fact offers more scope than the classic 24-70mm full-frame lens choice of many enthusiasts and pros.

Another advantage of having a shorter lens is that it facilitates much wider apertures. Here we have f/1.8 at the widest point, rising to a wider still f/2.8 at the furthest reach of the optic. This is great news for creating shallow depth-of-field effects, as well as opening up aperture to allow in more light during low-light shooting scenarios.

Throughout the camera’s focal length range, there’s a good degree of detail displayed, so you can use either end of the lens (and the focal lengths in between) with confidence.

There exists the opportunity to boost the zoom capability with digital zoom; in fact, Canon offers two levels of digital zoom here. As I usually find, this is useful but best avoided if you want to maintain ultimate image quality. That said, images taken at the first point of the digital zoom are usable for sharing online.


Generally speaking, I’m pretty pleased with the G7X II’s focusing capability. It locks onto most subjects quickly, slowing down a little only if the light is low. It maintains a quick focusing speed at the furthest reach of the lens, too.

However, it doesn’t cope particularly well with macro (or small) subjects. You can switch on macro focusing, but it doesn’t seem to help all that much with particularly small objects, such as insects or fine flowers.

The Digic 7 processor has facilitated some impressively quick operation times in the G7X Mark II. Startup time is rapid: the camera is ready to shoot in less than one second. Shot-to-shot time is also quick, as is looking through images in playback.

The processor also facilities 8fps (without AF) in continuous high speed – a huge improvement on the previous-generation camera. Better yet, the buffer depth offers 19 frames in raw format, or 30 frames in JPEG before it’s full and requires a short pause from shooting – you’ll find that the camera goes back up to full depth in a couple of seconds, making it useful for capturing quick-moving action.


Canon already had a good performer on its hands with the original G7X II, and so this camera builds on a solid base.

The camera’s all-purpose metering system generally produces well exposed images, in a variety of different shooting conditions. You may find that it’s barely even necessary to touch the exposure compensation dial.

Colour in JPEG images is superb directly from the camera, with satisfying punch but also a good degree of realism. Automatic white balance also produces accurate colours, even when shooting in artificial lighting conditions.

When it comes to detail, there’s plenty to like here, with the G7X Mark II making a fantastic impression when looking at images at normal printing or viewing sizes.

Looking at shots taken at around ISO 3200, it’s possible to see a little image smoothing creeping into some areas of the image, particularly shadow areas, so it’s wise to keep prints of these to A4 or smaller.

At ISO 6400 image quality drops a little further, so you may want to consider printing and sharing only at smaller sizes. The newly upgraded Digic 7 processor appears to have resulted in better high ISO performance than the G7X Mark II’s predecessor, with less noise in images shot at speeds over ISO 1600.

To see how much noise reduction is applied by the camera, you can examine corresponding raw files. Here we can see that high ISO shots display significantly more noise. On the flipside, you also get more detail, providing the opportunity to bring that back if you need it.

The G7X Mark II offers a built-in ND filter, which you can switch on or off from the quick menu. It proves useful when you want to use wide apertures, but the light is bright – for instance, if trying to create shallow depth-of-field effects in portraits during the daytime. It stops as much light reaching the sensor to avoid overexposure, and achieves some great results.

Limited digital filters are available, with some better than others – depending on your needs. They can’t be applied when using raw format, however, which is a bit of a disappointment.


The G7X II is restricted to shooting Full HD video (1,920 x 1,080). While other cameras are starting to introduce 4K video shooting, it isn’t the most advanced specification out there. Nonetheless, it produces some decent footage.

It’s hardly going to be a camera that professional videographers turn to, but it does offer the ability to shoot at a variety of frame rates up to 60p. You can use the touchscreen to pull focus from one area of the frame to another during video recording, which it does smoothly and easily.


The G7X II is an extremely capable camera, which can produce some excellent images in a wide range of shooting conditions. The improvements Canon has made over the original G7X are also very welcome, being quite small individually, but adding up to make this a more significant upgrade overall.

However, there are some elements of usability that won’t appeal to everybody. Most significantly, and most importantly for enthusiasts, is the lack of an built-in viewfinder. It appears that Canon has opted to leave this out to save space, but both Sony and Panasonic have found ways to incorporate small viewfinders into some of their smallest models.

Perhaps Canon’s reluctance to include a viewfinder is down to having enough separation between this model and the next one up – the G5X. For those likely to miss its inclusion, the G5X maybe worth a look.

In addition, a fully articulating screen would have been welcome too, but since the one included here tilts all the way forward, as well as downwards, it’s useful for shooting at awkward angles. The touchscreen is also great to use, and handy for setting AF points and moving through various menus and screens.

For the moment, the G7X Mark II is mighty pricey – it costs twice the price of Canon’s entry-level DSLR, so it isn’t exactly an impulse purchase. If you’re on a budget, you may be wise to hold out for a price drop as the camera ages.


A well-equipped premium compact camera, which is capable of producing some fantastic images. The G7X Mark II is a great backup camera, but others in Canon’s G-series lineup may be more suited to enthusiast photographers.

This article originally appeared on Trusted Reviews


One of our readers wrote an informative and comprehensive article about the new Canon Mark IV. Based on speculations, thoughts, message boards and Canon's history Reza Sadeghi Moghadam compiled a thoughtful analysis of Canon's new superstar. Let us know your thoughts!



Expected specifications of canon 5d mark IV

It is always a joy for photographers to guess about features and specs of new cameras. Especially new models of hot series like canon’s lovely 5. As a photography technology expert and teacher who is monitoring the market, here I have my analysis and expectations of the upcoming hot model of canon: 5D mark IV. The analysis is based on needs of professional photographers’ needs, the new technologies, market and competitors. Please notice that these specifications are NOT based on rumors. I give you my reasons about each expected specification:

            Still Image Resolution: 26 to 30 megapixels

Resolution is the ultimate battlefield of camera manufacturers. I believe the resolution of Canon 5D mark 4 is somewhere between 26 to 30 megapixels. Not less. Not more

Logics: The previous model, 5D mark III didn’t have a big improvement over 5D mark II so it’s about 8 years that Canon is sucked around 21 megapixels. The fight became hotter when the lovely big rival of the camera, Nikon D800 shocked the market with huge 36 megapixel sensor. High resolution is needed for larger prints with higher quality. On the other hand it won’t be higher than 30 megapixels because of two reasons:

1. It is years that they are winning most of low noise high iso fights so very high resolution which means smaller pixels and more noise is not logical for this camera.

2. For the sake of large prints and megapixel maniacs, Canon has the great 5Ds and 5Dsr with 50+ megapixels and it’s expected that they continue this policy with announcing 5Ds mark II in following year.

Still Photo autofocus system

There are two theories here: From one aspect we saw the focus system in 1DX mark II with same 61 autofocus points but with faster and more accurate performance. So expecting canon to have more points and better autofocus performance than its flagship is a little dreamy.

From other aspect, this market is all about competition and with Nikon’s superb 153 points, it’s not far from logic that Canon adds more points to the competition to regain advantage over its classic rival. It’s really logical for Nikon to put same autofocus features as D5 and D500 in D900 and it makes competition a little harder for new 5D. The other reason that ends to more autofocus points is that after knowing about Nikons ACE card, Canon had more time to work on the new 5 than the time they had for the new 1!

The camera will also be able to autofocus on subjects in very low light maybe in -3 EV. Reason: They did it in 6D!

The servo performance will be improved as they have better processors available. 

It is time for autofocus points to be cross type. All of them!

Video Resolution: 4K DCI 60 fps

After Canon changed the game of videography by announcing 5D mark II and its breathtaking video quality, many professional film makers, event photographers and wedding photographers started using DSLRs for video. In 5D mark III we had some advances but when the 4K resolution started the new revolution, things changed. Videographers started using limited non complete cameras like Panasonic GH4 and of course the great Sony A7sII. When Nikon entered the scene with UHD video on its D5 and D500 beloveds, it was time for canon to think 4K. Of course Canon has 1DC from 2012 which is somehow even better than 2016 D5 in video but it’s a super expensive gear. By announcement of EOS 80D we were disappointed by seeing the lack of 4K video but it rang the bells for a great video performance of new 5D mark IV. On the other side we still have no good 4k DSLR, Mirrorless or even affordable video cameras. Panasonic has GH4 but it has a super tiny sensor, limited but expensive optics and limited photography performance.

The Sony A7SII is great in 4k performance but has poor still photos, limited and expensive lenses and of course some problems like annoying Full HD crop and very bad rolling shutter effect which is caused by its internal stabilizer. 

The Nikon D5 has a big crop effect, lack of good video autofocus, lack of good video lenses and of course lack of 4K DCI which is more professional than UHD. Same about D500.

Most of small and affordable video cameras have poor lowlight performance or autofocus issues. 

So here it is a historical opportunity to have a super cool 4K DCI camera and trust me, it will happen in 60fps like the 1DX mark II. The camera will also have nice 120fps slow-motion frame rate even in lowlight. 

Video autofocus: 80 shades of Great!

Poor video Autofocus was a big pain which started to heal by announcement of EOS 70D and is cured by outstanding video autofocus performance of EOS 80D. Maybe some people say that professionals do use manual focus but it’s not true. In many situations like weddings, events and etc, video autofocus is vital. If it happens in 5D mark IV as good as canon 80D, canon can capture the market of professional and semi-professional videography and have the 1st complete 4K affordable camera. If they don’t, they will regret it. PS: They will do!

Other Video features

One more expected feature about video is new developed sensor that does not become hot when it’s recording video. We saw the same effort on 6D.

About record time Nikon lost the game with 3minutes 4k video and Canon will work for longer records maybe up to 29:59. 30 minutes or longer records won’t be possible because if they do, they will have to pay the tax of video cameras to Europe Commission.  

Clear HDMI output is also expected as it was a hot discussion recently. 

Crop in 4K video is expected to be 1.3 as it is seen in 1DC. If they do this they will win this fight as Nikon D5 has disappointing 1.46 crop in UHD Video.

Improved Dynamic Range

It is expected to have a nice and improved dynamic range in both still and video field. We have two reasons: From one aspect dynamic range has been the Achilles heel in Canon cameras in recent years in competitions against Nikon so they will do anything to bridge the gap. From other aspect we know that they are working hard on this and are doing great because we saw good improvements in dynamic range in recent cameras like 80D, 5Ds and 5Dsr. 

Improved Low light low noise

Canon is the winner of this field for years and we saw they did it again in 1DX mark II and even in cheap full frame named 6D. As we said before they do not have to go wild on resolution because they have 5Ds and 5Dsr so we expect great lowlight low noise high iso performance. 

Improved Color depth:

In fight of color depth, if we trust analyzer websites (Which I don’t), 5D mark III lost the game to Nikon D810 for 2 bits (24 vs 26) so it is expected that they develop colors to somewhere about 26.

Frame Rate: 7 to 8 fps

After slow frame rate in 5D mark II canon worked well on 5D mark III with 6 fps but it’s expected that they will improve it again to 7 to 8 frames per second. Of course they won’t go wild to faster frame rates because if they do they lose one part of 1DX mark II market which has more benefit for the company. About buffer, it’s expected to see infinite JPEG burst in 5D mark IV as we saw it in 1DX mark II. Alert: If they don’t they may lose the fight to Nikon rivals. 

Memory Slot

With 4K video Canon 5D mark IV has to use fast memories so one CFast 2.0 Slot plus one or two SD slots are expected.


USB 3.0: For transferring heavy Raw files and 4K videos.

HDMI: For clear video output to external recorders.

3.5 mm microphone jack for recording better audio.

3.5 mm headphone jack for monitoring the audio.

Wi-Fi: It’s a key feature in recent DSLR Cameras which made useful possibilities for remote shooting.

NFC: For fast and trusty connections to devices and recorders.


It’s expected from canon to put the 3.2 inches screen of 1DX mark II in new 5D with resolution of 1,620,000 dots on Clear view II TFT LCD. Fixed and touchscreen


We expect a design like 5Ds but with one or two additional buttons.

Very good environmental sealing is always expected from Canon in this series.  

Other Expected specifications: 

Flash X sync speed: 1/250 sec. It is expected that they improve this feature over 1/200 sec in previous version to compete against Nikon. 

New built-in HDR and time-lapse features. 

Optical pentaprism viewfinder with 100% coverage and 0.71x magnification. As same as 5D mark III

Built-in flash: No. Canon is famous for its environmental sealed cameras so a pop-up flash is not expected. It is kind of a culture in Canon’s Full frames.

Iso: 100-51200 which is expandable to 50-409600 like 1DX Mark II

Maximum Shutter speed: 1/8000 sec: Not hard to guess!

External Flash: Yes Hot-shoe which can be used as wireless trigger for other flashes. 

A Message from the Author: Reza Sadeghi Moghadam, is a professional photography teacher and market analyzer. This article is about expected specifications of Canon 5D mark IV. This article is not based on rumours. All guessed specifications have their logics and reasons based on my analysis and monitoring the market and professional photography world. Follow Reza on Instagram!














Chris Winter did a great video review of the D500 for Nikon. Based on the reviews this is a solid machine with dual slots to help you back up your images on the spot. Photographers THIS feature is something you should require in any future camera, you cannot afford to lose any images.

With it's impressive 10 frames per second, this is a WONDERFUL performance camera. Nikon stepped up their game with the autofocus on this and many of their other options lately. It records in 4K which is wonderful and something we hoped Canon would jump on. A nice additional feature is the time lapse that's built in and this makes the camera a great capable camera.


Canon EOS 80D at a glance:

  • 24.2MP APS-C CMOS Sensor
  • DIGIC 6 Image Processor
  • 3.0″ 1.04m-Dot Vari-Angle Touchscreen
  • Full HD 1080p Video Recording at 60 fps
  • 45-Point All Cross-Type AF System
  • Dual Pixel CMOS AF
  • Expanded ISO 25600, Up to 7 fps Shooting
  • Built-In Wi-Fi with NFC
  • RGB+IR 7560-Pixel Metering Sensor

Imaging Resource put their comprehensive Canon EOS 80D review online, and it’s another highly positive review about what starts to appear to be an absolute winner for Canon. As IR puts it: “an all-around excellent DSLR with a good combination of image quality, advanced features, great build quality, and a good price point“.

In conclusion they write:  The camera is an excellent, well-built DSLR that produces reasonably sharp, detailed photographs and high quality Full HD video. It’s comfortable to hold with classic Canon DSLR styling, ergonomics and controls, and its versatile AF system is great — especially thanks to Dual Pixel CMOS AF. The 80D feels like a tried-and-true Canon DSLR — nothing over the top, ground-breaking or revolutionary, just what it’s meant to be. It’s a straightforward camera that works well, performs well, and captures pleasing images.

Original Post Here at Canon Watch


Introduction and features 

One of the main complaints levelled at the high-end Panasonic GX8 is that it's a bit on the big side for a camera with a Four Thirds type sensor. Well the GX80 introduced below it in the company's flat-style range of cameras is set to address that by offering a smaller alternative. The downside of course is that it doesn't offer the same range of direct controls on the top-plate, but there is still a mode dial so you can switch quickly between the options. 

Interestingly, or perhaps disappointingly, Panasonic hasn't opted for a 20Mp sensor like the GX8's for the GX80 and instead has gone for a 16Mp device. However, unlike all the other 16Mp sensors in Panasonic's previous compact system cameras the GX80's sensor doesn't have an anti-aliasing (or low-pass) filter. 

The benefit of omitting a filter is that images have a little more detail and look sharper without the need to apply lots of sharpening digitally, so they can look more natural. The downside is that they may be prone to moire patterning, the interference that can occur when photographing fine repeating patterns. 

However, Panasonic has given the GX80 a tweaked version of the processing engine inside the GX8 and tailored it to deal with moire patterning. Panasonic claims that the new sensor and processing engine enable around a 10% increase in detail resolution compared with a camera with a filtered sensor. 



Although it sits below the GX8 in the Panasonic camera line-up, the GX80 has an improved dual stabilisation system which works across 5 axis (5 in-camera and 2 in-lens) that works in both stills and video mode. The ability for the sensor-based system to work in harmony with lens based stabilisation is particularly important with telephoto lenses because it affords much greater range of compensation. 

Panasonic is claiming it's the best system on the market. That's a bold claim because there are some good ones around, especially from Olympus and Sony. 

Panasonic has also opted for an electromagnetic shutter drive rather than its usual spring drives. Although this limits the maximum shutter speed to 1/4000sec rather than the 1/8000sec possible with the GX8's mechanical shutter, it is quieter and produces 90% less vibration, which should result in sharper images. If 1/4000sec isn't fast enough, there's also an electronic shutter that enables shutter speeds up to 1/16000sec. 

It's good to see that Panasonic hasn't abandoned a viewfinder in an effort to shrink the size of the GX80 – it has 2,764,000-dot device built-in. In addition, there's a 3-inch 1,040,000-dot screen that can be tilted up through 90 degrees and down through 45. The protruding viewfinder prevents the screen from tipping right up for shooting selfies, but I'm fine with that decision, I know which I'd rather have. 

Naturally for a Panasonic camera, the GX80 is capable of shooting 4K (3840x2160) video at 30,25 or 24p in MP4 format as well as Full HD (1920x1080) video in AVCHD or MP4 format. In addition Panasonic 4K Photo modes are present to help capture fleeting moments at 30 frames per second and extract 8Mp stills. The new Post Focus mode, which allows you to select the focus point after shooting, is also on hand and there's the new Light Composition mode that appeared in the Panasonic TZ100 to enable better shots in low light conditions. 

In addition to Panasonic's usual range of Photo Styles the GX80 debuts L Monochrome, which produces higher contrast, punchier images than the standard Monochrome Style which is a simple desaturation. 

Build and handling 

As soon as you pick up the GX80 you can tell that Panasonic has gone for a quality build rather than a lightweight and plasticky approach. It may be small, but it is quite dense and solid-feeling. The shallow front grip and rear thum bridge also provide sufficient hold so that it feels comfortable in your hand. Both the mode and adjustment dials on the top-plate are made from metal with high quality knurled edges to make them easier to use with a stroke of your thumb. 

Underneath the mode dial is the power switch which sticks out towards the back of the camera. This seemed a little small and fiddly at first, but it didn't take me long to start wondering what I had been worried about. 

On the back of the camera there's a smattering of small buttons, including the usual collection of four dedicated to menu and setting navigation. First impressions suggest they are relatively easy to locate with your thumb without looking and they are responsive to being pressed. I suspect that many will find the small grey font that denotes their function rather hard to see however. 

The screen on the back of the camera feels well connected via the tilting hinge that holds it firmly in place. It also shows plenty of detail with nice contrast. In brighter conditions, however, it's likely to require the brightness to be turned up to blast out reflections. 



As we have come to expect, the screen is very responsive to touch and it's nice to be able to use it to make main menu and Quick menu selection as well as adjust settings and set AF point. 

The viewfinder also provides a good view, although it's a fairly small unit so you may find yourself peering in at first. 

It's good to see a button dedicated to accessing the 4K Photo options, and this was something missing from the GX8. These are modes that you are likely to want to dip in and out of quickly, so it's good to have speedy access. And if you decide you don't want to use 4K Photo mode you can always customise the button to access something else. 

Those lamenting the lack of a direct exposure compensation dial may be cheered to know that this feature is within easy reach via the depressible dial above the thumbrest on the back of the camera. By default, depressing this gives access to exposure compensation which can then be adjusted by rotating the dial. 

It's early days with the GX80. We were lucky enough to get a production sample just before the announcement but we need to shoot with it for a few days before we can give chapter and verse on its handling. So far so good though. 

Performance and early verdict 

Early indications are that the GX80 produces high quality images that look a little more natural than those we have seen from some other Panasonic cameras. This is the impact of the reduced sharpening required as a result of omitting the low-pass filter. However, we need to shoot in a range of conditions and study lots of images of fine detail before we can pass verdict on its ability to avoid moire patterning or not. 

Panasonic's autofocus, white balance and metering systems have all impressed in the past and I see nothing so far to suggest that the GX80 will not follow suit. The focusing appears to be fast and accurate even in quite low light and so far I haven't been surprised by the need to use exposure compensation when I wouldn't expect to. 

Early verdict

While is disappointing that Panasonic has gone for a 16Mp sensor rather than a 20Mp device, it's interesting that the company has gone for the filterless approach. I wonder if this is something that will be rolled out more widely across the camera range? 

It may lack the tilting viewfinder, vari-angle screen and exposure compensation dial of the GX8, but the GX80 is much more compact with everything within easy reach either via a dial, button or a quick tap on the screen. It could make it a popular, more affordable alternative. 

Although we have received a full production sample of the Panasonic GX80, we haven't had time to put it through our lab tests or shoot with it properly yet. Our full review is under way and will be published here in the near future. 


Wi-Fi SD cards have been around for quite a long time, but they didn’t really work that well. After digging around, I decided to try out Toshiba’s 32 GB FlashAir Wi-Fi card, and to my surprise, it works well, as long as you keep your expectations in check.

I’ve been hesitant about Wi-Fi SD cards because they sound like witchcraft. I tried one of the original Eyefi cards back around 2008 and hated the entire experience. I hadn’t looked back until I recently, when I decided adding Wi-Fi to my camera would make transferring photos to my phone a little easier. After all, these things had to work better by now, right? The FlashAir is the cheapest name brand option right now, with the 32GB card regularly going for around $30 compared to the Eyefi’s $90 and Transcend’s $60. So, after testing out the latest Eyefi for comparison’s sake and deciding the extra features weren’t enough for me, I went with the FlashAir.


How the FlashAir Works

Using the FlashAir is pretty simple once you understand exactly what it does. In the case of the Toshiba FlashAir, you plug the card into an SD slot, and the card then broadcasts a Wi-Fi signal that you can connect to from an app on your phone or computer. You can even connect directly to the card using a special URL (because it’s also a tiny server.) Essentially, the FlashAir is just a hot spot that sits inside your camera but happens to also be an SD card.

Most people use these kinds of cards to add Wi-Fi photo transfers to an older camera. Here’s how it works:

  1. Turn on your camera with the Toshiba FlashAir inside of it. The card automatically starts broadcasting a Wi-Fi signal.
  2. Go to your phone or computer’s Wi-Fi settings and connect to the Wi-Fi network from your card (for the FlashAir, the default is flashair_randomalphanumericstring).
  3. Open up the AndroidiOS or desktop app, and download your pictures.

By default, the Wi-Fi signal broadcasts for five minutes, but your camera’s battery powers the Wi-Fi, so when your camera shuts down, it’ll take the card (and the Wi-Fi) with it. This also means the SD card eats a bit of your battery power, though I didn’t notice that big of a difference in battery life.

It’s worth pointing out that the Toshiba FlashAir III works a little differently than the far more popular (and much pricier) Eyefi Mobi Pro line of cards. The Eyefi card can either create a direct connection by making its own Wi-Fi network like the FlashAir, or it can connect to your home Wi-Fi network to automatically upload photos to a cloud service or other device. Depending on what you what from your device, this is an important distinction to make. The FlashAir cannot connect to your home Wi-Fi network, so the process of getting photos to another device is never automatic. 


Where It Excels

I found the FlashAir best suited for one thing: getting photos from my camera to my phone. To this end, it does the job wonderfully. It’s also a perfectly acceptable SD card, with class 10 read/write speeds that allow for snapping RAW images and recording HD video without hiccups.

And honestly, that’s all I want. I barely trusted this technology to begin with, so the fact that it actually works as advertised and lets me pull photos off my camera and onto my phone over Wi-Fi is enough to impress me here. There’s a part of me that wishes the FlashAir would connect to my home network and automatically upload images to my computer when I walked in the door, but I’d probably never trust that feature and I’d do it manually anyway.

The FlashAir app for importing photos is also nice and simple. You can import photos, change some settings (like the SSID and password) on the card itself, and that’s pretty much it. This is probably a drawback for some people, but honestly, there are millions of excellent photo editing and management apps on iOS and Android, and I guarantee whatever Toshiba tried to make would pale in comparison to third-party offerings. It’s also nice that you don’t have to register with another service to use the apps (like you do with the Eyefi). Plus, if you hate apps (or don’t have an Android or iOS device), the FlashAir is also functions as a little server that displays your photos at so you can access them from any browser.


Where It Falls Short

As you can see from the image above, the documentation that comes with the FlashAir is laughably oversimplified and borderline insane. That image is the entire manual, that’s it. So, you’ll need to figure out how to use the FlashAir on your own without a lot of help. The manual doesn’t tell you how to connect your phone to the SD card, it doesn’t tell you the default password for the hotspot it creates (hint, it’s 12345678), and it doesn’t even bother to explain how the thing actually works. Sure, it’s pretty easy if you’re tech-minded, but if you’re not, Toshiba’s manual is a befuddling masterwork of nonsense.

It’s also worth remembering the range of the Wi-Fi signal is about as far as you’d expect from this hacked together ramshackle technology. I couldn’t get it to work reliably beyond a few feet, and the transfer speed is around 2MB/s, so don’t expect crazy fast transfers. The range is so bad that it’s pretty useless if you want to transfer photos to your PC because by the time you get within range you might as well just pull the card out of the camera and plug it into your computer. The Eyefi card has much better range, so if that’s what you’re looking for, that card is more up your alley.

There’s also an internet passthrough mode that allows you to access both the Wi-Fi card and another Wi-Fi network at the same time, though it was unreliable for me. I also couldn’t for the life of me figure out why on earth I’d need to ever use the feature to begin with. If that’s a feature you need, you’ll probably want to look elsewhere.

While I personally didn’t struggle with how the whole hotspot photo transfer system worked, Wired described this process as a “cumbersome deal-breaker.” It takes about 10 seconds worth of your time, which is a far cry from cumbersome if you ask me. If that sounds like too much effort, then stay away from the FlashAir.


The Bottom Line: It’s Good for Transferring Photos to Your Phone, but Not Much Else

I bought the FlashAir III because I didn’t feel like shelling out the extra cash on a new camera when all I really wanted was Wi-Fi. To that end, it’s terrific for me. I’ve always been hesitant about Wi-FI SD cards because the reviews have been all over the place, but I think a lot of that has to do with expectation more than anything else (though the shoddy documentation certainly explains a lot of people’s struggles too). If you’re worried about the card not working, Toshiba does have a list of compatible cameras, though it covers pretty much every camera from the last decade. For what it’s worth, I tested it in a Sony RX100 and a Fuji X100.

I’ve already said this, but just so we’re all clear here: I think the FlashAir is a fantastic card if all you want is a simple way to transfer photos from your camera to your phone when you’re on the go. I’ve been using this as an easy way to pull stuff off my SD card and upload it to my cloud storage or social networks when I’m nowhere near home and it does a great job at that. If you’re looking for something that’ll automatically upload your photos to your computer when you walk in the door, look elsewhere.


As promised, Asus has started to make its Android-powered ZenFone Zoom smartphone available for preorder in the U.S. starting Jan. 20.

Although the Asus smartphone had been late in hitting the U.S. shores - it was announced in January 2015 - the handset will nevertheless be welcomed by consumers in the country. The Android-powered handset has finally arrived in the U.S., making it the second market where the smartphone is officially released. The smartphone is already available in Asus' home country Taiwan since December 2015.

On Monday, February 1, the ZenFone Zoom smartphone - which boasts a powerful 13MP primary camera with 3x optical zoom - began retailing from B&H Photo. The ZenFone Zoom is exclusive to the retailer and the unlocked variant of the smartphone bears a price tag of $399.99.

The Asus handset boasts a 5.5-inch IPS display (Full HD) with Corning Gorilla Glass 4. The device has a pixel density of 403 ppi, housing a quad-core processor and 4GB of RAM. The device packs in a powerful non-removable 3000mAh battery, which offers support for BoostMaster. It has 64GB of on-board storage which is expandable to 128GB, thanks to the microSD card slot.

It will come pre-loaded with Android 5.0 Lollipop, which may disappoint many Asus fans. Nevertheless, the 4G LTE-enabled smartphone's camera packs quite a bit of punch and has been touted as an iPhone 6s Plus killer.

"In terms of image quality the ZenFone Zoom can not only rival single-lens reflex (SLR) camera, judging from all the features it as well as outshine iPhone 6s Plus," said Jonney Shih, Asus' Chairman at the time of the smartphone's release.

The ZenFone Zoom's USP is its 13MP rear-facing camera with OIS and 3x optical zoom. Unlike the digital zoom which is offered by maximum cameras on smartphones, the optical zoom is handy when one wants to take images of distant objects with more clarity. The device also has 5MP selfie camera with no zoom.

A downside of the mechanism is the bulk it adds to the smartphone, making the Asus offering heavier (185gms) and thicker (11.95mm) than several handsets that are currently available. However, the ZenFone Zoom notches up several brownie points for the fact that it has a premium-looking feel thanks to the use of aerospace-grade 6063-series aluminum on its sides and the leather on its rear.

The Asus ZenFone Zoom model for the U.S. is compatible with GSM networks, which means it will work with T-Mobile and AT&T but not Sprint and Verizon.

Early reviews for the smartphone seem promising, lauding its camera capabilities.

"Oversaturated display aside, the Asus Zenfone Zoom is easily the best "serious photographer" smartphone currently available. Proper optics and a real zoom lens feel like absolute game changers when it comes to smartphone photography. There a quality to the Zenfone Zoom's photos that the competition just can't match," says Gizmodo.

 The ZenFone Zoom can be purchased for $399.99 from B&H.