Tracking AF - 5D MkIV vs 7D MkII

I've never really put Automatic AF point selection mode with all 65 AF points active to the test on a job, but gave it a try this week while shooting very active teenagers for a glossy private school prospectus. The 5D MkIII is obviously a non-starter. With Servo AF it's pretty good if you keep the AF point or cluster on the subject. But the 7D MkII with 70-200 f/2.8IIis managed surprisingly well using the Automatic AF point selection mode with all 65 AF points active, and I'm sure will get better as my technique refines. You just get different, far more dynamic and interesting shots. I've read in reviews that the 1DX MkII is outrageously good in this mode, it hardly misses a shot once it's locked onto a moving subject.

I'm really seeing the potential of this mode, and have been trying to find out where the 5D MkIV ranks against the 1DX MkII and 7D MkII. One 5D MkIV reviewer who touched on the subject of Servo AF comparisons was the sometimes unreliable Ken Rockwell who ranked the 5D MkIV servo tracking AF with the 5DsR...meaning adequate but not that fast. That doesn't sound right.

I'd get a 1DX MkII for it's unrivaled AF credentials, but the silent shutter in the 5DIII and 7DII has opened creative doors to an unanticipated extent. particularly with corporate, education and theatre clients. The otherwise perfect 1DX II shutter is just loud, even in alleged "silent" mode. If the 5D MkIV performed equally or beyond the 7D MkII in servo tracking AF mode, I'd get one straight away.

Anyone with direct experience here? Thanks in advance... :)

-pw

Canon EOS M5 Manual Available for Download

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<p>The manual for the soon-to-be-released Canon EOS M5 is now available for download via Canon USA. You can <a href="https://www.usa.canon.com/internet/portal/us/home/support/details/cameras/eos-m-series-digital-cameras/eos-m5-ef-m-18-150mm-is-stm/eos-m5-ef-m-18-150mm-is-stm#manuals_tab">Download the manual here</a>.</p>
<p><strong>Preorder the Canon EOS M5:</strong></p>
<ul>
<li>Canon  EOS M5 Body: <a href="https://www.bhphotovideo.com/c/product/1281373-REG/canon_1279c001aa_eos_m5_mirrorless_digital.html/bi/2466/kbid/3296">B&H Photo</a> | <a href="http://amzn.to/2cXfxRm">Amazon</a> | <a href="http://www.adorama.com/ICAM5.html?KBID=64393">Adorama</a> | <a href="https://mpex.com/canon-eos-m5-mirrorless-digital-camera-body-only.html?acc=3">Midwest Photo</a></li>
<li>Canon EOS M5 w/15-45mm f/3.5-6.3 IS STM: <a href="https://www.bhphotovideo.com/c/product/1281375-REG/canon_1279c011aa_eos_m5_mirrorless_digital.html/bi/2466/kbid/3296">B&H Photo</a> | <a href="http://amzn.to/2cXfxRm">Amazon</a> | <a href="http://www.adorama.com/ICAM5K.html?KBID=64393">Adorama</a> | <a href="https://mpex.com/canon-eos-m5-mirrorless-digital-camera-with-ef-m-15-45mm-lens-kit.html?acc=3">Midwest Photo</a></li>
<li>Canon EOS M5 w/18-150mm f/3.5-6.3 IS STM: <a href="https://www.bhphotovideo.com/c/product/1281376-REG/canon_1279c021aa_eos_m5_mirrorless_digital.html/bi/2466/kbid/3296">B&H Photo</a> | <a href="http://amzn.to/2cXfxRm">Amazon</a> | <a href="http://www.adorama.com/ICAM5K1.html?KBID=64393">Adorama</a> | <a href="https://mpex.com/canon-eos-m5-mirrorless-digital-camera-with-ef-m-18-150mm-lens-kit.html?acc=3">Midwest Photo</a></li>
</ul>
<p> </p>
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Flash for M5

Hi,

I ordered an M5 and need a small and lightweight speedlite. Owning a 600rt I guess this como would be way missbalanced. So my idea was to use the 600 off shoe, pointing to the wall or ceiling and to trigger it with a small on shoe flash like 270exii but that has no master function and no radio connection, right?

So the only option is 430ex iii rt ?

The data:
270ex ii is 155g + 2 batteries
430ex iii rt is 295g + 4 batteries

Another possibility is to get a Speedlite Transmitter ST–E3–RT, but that would cut the ability of fill in flash for portraits.

Any other options? Or wait for Canon to make a 270ex iii rt ?

IR and DPP 4: whence cometh the unseemly tiny dots?

I was practicing IR photography with a Singh-Ray I-Ray filter on a Canon 300mm f/4 IS and 5D Mark III body. Exposures were typically around ten minutes owing to an incoming storm, apertures f/5.6 - 7.1. On processing images tonight, I see that the IR photos have a consistent pattern of white dots when viewed and processed in DPP 4. When the images are completely desaturated they are quite obvious.

Initially I was worried I had a sensor problem: I had cleaned filter and lens immediately before use in the field, and would have expected any remaining dust from the filter to shift a little as I had to take off and put on the filter several times. I took ordinary color photos of the same shots and cannot find a trace of dots in the color shots even when desaturated.

I tried opening one of the images in Bridge, and I could see the white dots initially in the preview... and then they suddenly disappeared! I proceeded to open the file in Photoshop 6 and couldn't find a trace of them. Closed without saving, went back to DPP 4 and there are all the dots waving at me, pointing and laughing. I repeated this process a couple times with the same and different images. Once Bridge completes an initial preview of an image, it remembers any processing it does so future peeks in that session show no dots.

A sample crop of a desaturated image included as processed in DPP 4; yes, there are lots of dots, and they appear sharply focused as opposed to diffuse (as one might expect for lens dust).

Question: is this a software problem with DPP4, a hardware problem like sensor dust or sensor error, a common issue with IR by filter, or some combination thereof? I presume the dots are artifacts in the images since both software programs initially detect them, but if that is the case then why does Bridge clean them up even in its preview window?

Sigma 1.4/85 ART RAW samples for download

Shot handheld on borrowed Canon 6D at Sigma booth. Only f1.4.

BIIG (but I wouldn't mind on my 1D). Quiet focus and reasonably fast in comparison to my 1.2/85L, but not lightning fast like 2.8/100L Macro on my 1DIV. Unfortunately I have no experience with 6D AF, maybe on my 1DIV the focus acquisition will be faster.

But, this thing is shaarp and contrasty wide open, I think it's sharper than Milvus 1.4/85. No APO performance, some bokeh CA in first and second shot, but those are true torture for this kind of lens. On last portrait, bokeh looks very nice.

Well I'd like to do some comparison to my 1.2/85L and Planar ZE 1.4/85 on 1DsIII in studio, to check color rendering of this beast, but I have strong feeling that it can replace the L in near future.

Here you can download the RAWs.

58h42wf75uclwp56g.jpg

Which 70-200 should I buy - or should I wait?

Hi folks

Looking for the benefit of your wisdom. I'm fairly sure I read a while ago that Sigma were planning to update their current 70-200 f2.8 lens, and I believe Canon are also working one a new one. I do a fair bit of sports photography (very amateurish) and currently use either my 130mm portrait lens or my 70-300L when doing action shots.

I'd absolutely love the 70-200L IS f2.8 canon but it's an enormous amount of money for me to spend. I also think I read somewhere that this lens is due to be updated fairly soon and would be gutted if I dropped the cash then it was refreshed.

I hear decent things about the Sigma 70-200 EX DG OS USM but again I am fairly sure I read that they're releasing a new version of this.

I know Tamron also do a similar lens but know less about that.

Bad time to buy a 70-200mm if I can wait 6 months? What would you do I my position? All views very welcome.

Boog

5d3 doesn't want to recognise lenses

My 5d3 doesn't want to recognise any of my lenses including my L lenses.

When first starting up, the camera works for one or two shots, then it stops recognising the lens on it. The lcd display says 00 for the aperture and a warning comes up on the rear screen saying there was no lens on the camera and an Err001.

I've cleaned the contacts on both the body and lenses, but to no avail.

Is this a common problem?
Any idea of repair costs? The camera has around 200,000 shots on it, but I am always careful with it, but it is a very early build 5d3.

CPL Filter differences.

Hi Folks.
I have a question regarding the quality of the cheap CPL filters from China via eBay. I understand that they are aluminium rather than brass construction, but then the dearer filters that I might buy (Hoya Pro) are aluminium too!
I'm looking at getting a 67mm to go on my EF-s 17-85mm lens on my 40D and with a step ring on my EF 70-300mm which is basically my work (second) kit, I use it for documentation of work to classic cars and those unexpected opportunities on the way to or from work.
I have a set for my L glass in my main kit and don't want to get too heavily invested in the second set.
I know the "you get what you pay for" argument, but I'm wondering if for something that may never be used or only rarely whether the CPL filters can be that bad. I have looked at Andoer and Fotga at about a quarter of the cost of the Hoya.
Will they work, what don't they do that they should, what is different that should convince me to buy a Hoya (or similar in that price bracket). I will spend more to get more, just don't like spending more to get the same or very similar!

Thanks in advance for any input on this.

Cheers, Graham.

Temporary Speedlite Wall Mounts

The angels are singing! For a long time I have wished for a way to put speedlites on a wall when shooting a meeting, party, etc. so that speedlites on stands are not vulnerable to being knocked over by kids, etc.

Here's the solution. The mount sticks like those no damage picture hangers or hooks that we use at home on the walls.

Check it out: https://www.tethertools.com/product/rapidmount-slx-with-rapidstrips/?gclid=CMjhs67Uo9ACFRVrfgod4J0MEw

Florida in November

I will be in Florida for the next 7 days. I plan on starting with blackpoint wildlife drive then circle b. I will then be staying out of Clearwater for the rest of my trip but i can travel few hours in any direction. Are there any "must see" spots around this time of year ? I know November isn't the best but I couldn't choose the date for this trip. I had thought of Sanibel but not sure it will be worth the drive at this time of year. Any info would be greatly appreciated.

Canon EF 16-35mm f/2.8L III Review - Dustin Abbott

Hi everyone, I finished up my review of the Canon 16-35L III this week.

"Okay. Raise your hand if you wanted/expected this lens to come with an image stabilizer? In a day when many people use DSLRs as hybrid stills/video cameras and when Canon offers camera bodies with 30 and 50 megapixels, one would think that adding IS would have been a priority, but Canon has elected otherwise. Tamron proved a few years ago that such a lens is possible with its 15-30mm f/2.8 VC, but it will continue as the lone option for Canon shooters that want both the large f/2.8 maximum aperture and an image stabilizer in a wide angle zoom. Take a deep breath if this was your main priority, wipe away that tear from the corner of your eye, and let’s move on. The Canon EF 16-35mm f/2.8L III USM is not the lens where Canon marries a wide aperture with an image stabilizer, but the 16-35L III is the lens where Canon gets most of the ingredients right for building an exceptional wide angle zoom." read more... http://bit.ly/2fy1COY

Text Review: http://bit.ly/2fy1COY | Video Review Part 1: http://bit.ly/2fkXCjD | Video Review Part 2: http://bit.ly/2fxYJgV | Image Gallery: http://bit.ly/2dKJQYC

MR-14EX vs MT-24EX

Hi all

So macro photography is my favourite genre and I'll be buying the M-PE65 soon to compliment my 100L, which will be my last lens I buy for the foreseeable future.

But what am I considering is perhaps updating my MR-14EX to the MT-24EX. But I'm just not 100% sure whether that could be considered an update and further, just what exactly would improve in respect of lighting my subject.

Could anybody perhaps elaborate on whether it would benefit my photography?

Thanks in advance

Question about anti flicker feature on 5DS and 5DMKIV

I recently brought my 6D and 70-300L for a school play. I was astonished that out of 10 pictures, 3 where "blue", one "red". Like they where shot in "black and blue" and "black and red" (monochrome).
I presume the school use some kind of multi colored LED light source to emulate "white".

Would the anti "flicker" in 5DS and 5DMkIV avoid those"monochrome" images?

Review: 24-105 f/4L IS II from Martin Bailey

Not a reviewer I've read before, but here you go:

https://www.martinbaileyphotography.com/2016/11/07/canon-ef24-105mm-f4l-is-ii-lens-review-podcast-548/

Of note: "it looks to me as though the new 24-105mm is marginally sharper than the 24-70mm lens" -- and the 24-70 he was referring to was the f/2.8L II, which makes this an absolute whopper of a statement if true.

Color me highly skeptical until another source backs that up.

- A

OmniVision Debuts Second-Generation PureCel®Plus and PureCel®Plus-S Technology and Product Families

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<em>OmniVision’s Newest Pixel Architecture Brings Exceptional Low-Light Performance and Increased Dynamic Range to Advanced Imaging Applications</em></p>
<p>OmniVision Technologies, Inc., a leading developer of advanced digital imaging solutions, today introduced its latest advancement in leading-edge pixel technologies: second- generation PureCel®Plus and PureCel®Plus-S. In keeping with OmniVision’s tradition of delivering industry-leading image sensors, the second- generation PureCel Plus technology offers significant improvements over the previous generation, such as higher full-well capacity (FWC), better sensitivity, increased signal-to-noise ratio (SNR) and enhanced low-light performance. Though the initial development was focused on supporting small-pixel products for mobile applications, this technology will ultimately benefit many other image sensor applications.</p>
<p><!--more-->

OmniVision’s second-generation PureCelPlus technology showcases various performance improvements, including:</p>
<ul>
<li>20 percent increase in FWC, enabling higher dynamic range.</li>
<li>A newly introduced composite metal grid (CMG) structure, which increases pixel quantum efficiency and enhances sensor low-light performance, leading to a 12.5 percent improvement in sensitivity.</li>
<li>Improved deep trench isolation (DTI) structure, which further reduces color crosstalk and improves the SNR10 (low-light performance index) number by 10 lux.</li>
</ul>
<p>These structure improvements also enable small-pixel sensors to have better tolerance to incident light angles. This in turn allows imaging systems to use lower F-number lenses for better brightness, and to realize lower module heights that are essential for slimmer phone designs.</p>
<p>“Maintaining good image quality and sensor performance for small pixels in low-light conditions has always been a challenge in the digital imaging space. OmniVision has delivered increasing engineering advances over the years to address this market need,” said Dr. Song Xue, senior manager of sensor technology at OmniVision. “Our second-generation PureCelPlus technology enables our end users to capture high-quality, high-resolution photos, even in challenging lighting environments.”</p>
<p>OmniVision’s second-generation PureCel Plus-S technology will empower new families of compact 20-megapixel and 16-megapixel sensors. The 20-megapixel OV20880 and OV20880-4C and the 16-megapixel OV16885 and OV16885-4C are designed to deliver high-resolution images to high-end smartphones across a variety of lighting conditions.</p>
<p>The OV20880, OV20880-4C, OV16885 and the OV16885-4C are currently available for sampling and are expected to enter volume production in the first quarter of 2017.</p>
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ef 24-105mm f/4 II review by Martin Bailey

At least a few reviews are showing up. Doesn't look like he got his in a kit.

https://www.martinbaileyphotography.com/2016/11/07/canon-ef24-105mm-f4l-is-ii-lens-review-podcast-548/

I still think version I is a good value, but the refresh is definitely welcome. I know Canon's IS has improved significantly in the past five years or so. Why didn't the reviewer mention it at all???

Pro. vs pro-sumer vs consumer

I don't get the labels.

1. Everyone is a consumer, pros and non-pros alike.
2. Only people who get paid for their work as their primary income are professionals (Pro).
3. Pro-sumers are people who have pro level gear (according to some can only mean red ring or 5D series camera or higher)
4. But there must somewhere be people with non-pro level gear making a living as professional photographers.

Or, the label pro-sumer is just a way of saying, "I am not the average consumer because I have pro gear, but don't sell enough or not anything at all to be a real professional."

It is sort of the difference between giving sex away and being a "pro".

I say that pro-sumer should be dropped for our lexicon. Yucky word.

A chauffeur driving a Bentley is a professional driver. He doesn't even have to own the Bentley.

Is the man who drives his own Bentley for no pay a "pro-sumer"?

:) :) :)

5D4: regular AF vs live view Af

Just wondering if any 5d4 owners have tried a comparison of the regular AF vs AF using live view.

In a previous post, I noted that my first copy of the 5d4 had issues with the AF......specifically the regular AF was not working properly (ie not nearly as sharp as when I focused with live view, which was tack sharp each time).

Camera was on a tripod, shooting at my Spyder Lenscal AFMA target.

That camera went back (B and H returns work GREAT BTW, can honestly say you really will never have any problems with them), and I got another one.

So of course I tried the same comparison, using my 70-300L and my 100L macro.

This one works much better, there is very little if any difference between the 2 AF methods most of the time.

Using the 100L macro, there is no difference between regular af and live view af.

Using the 70-300L, the live view AF is a little better most of the time. But not anything like the other camera.

When using the live view AF, I was magnifying it before focusing.

I was wondering if one should expect the live view AF to be more accurate or not. Granted when using it I am magnifying it, and the 5D4 does have dual pixel live view af.

I was hoping some of our tech-savvy forum members would have an opinion on this, and if anybody else who has a 5d4 wants to try the test, I would love to hear your thoughts!

I suspect my original 5d4 had an issue with the af, but was surprised that the live view is always as good as, and even better that regular AF. maybe dual pixel is just that good.

Thanks for any help/info!

Favorite Focal Length/Aperture For Portrait

Given that Canon supposedly has a number of relevant lens (50 1.4, 135 f2, 85 f1.2) refreshes in the works and Nikon recently released a 105 f1.4. What do you think is the ideal focal length/ aperture pairing for portrait? If you had to pick one, of course. I know everyone has a favorite lens (based on whats available), this is more theoretical, with in reason.

edit: to clarify I'm thinking in terms of headshots and/or full body where you want to destroy the background.

A Conversation With Canon's Tim Smith Regarding the Cinema EOS C700

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<p>Hugh Brownstone had a chance to chat with Tim Smith from Canon USA regarding the Canon Cinema EOS C700 camera which was announced back on September 1 of this year. The Cinema EOS C700 was in development for about 5 years before it was announced and will come in 3 versions, the EF mount, PL mount and later on, a PL mount with a global shutter.</p>
<p>The new Cinema EOS C700 is modular, so even if you pickup an EF version of the C700, you’ll be able to take it to Canon service and they can give it the global shutter, as well as swap the mount to PL. The one significant difference with the global shutter version is it has less latitude than the non GS version (14 stops compared to 15 stops), which isn’t a big difference, but should be noted.</p>
<p>This flagship cinema camera from Canon will run you about $30,000USD and should be available soon. It’s definitely not for everyone, but it should fit a niche quite nicely.</p>
<p><iframe src="https://www.youtube.com/embed/OP9-8ulv_dI" width="728" height="409" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p><strong>Canon Cinema EOS C700 at B&H Photo: <a href="https://www.bhphotovideo.com/c/product/1278096-REG/canon_1454c002_eos_c700_cinema_camera.html/bi/2466/kbid/3296">EF Mount</a> | <a href="https://www.bhphotovideo.com/c/product/1278097-REG/canon_1471c002_eos_c700_cinema_camera.html/bi/2466/kbid/3296">PL Mount</a> | <a href="https://www.bhphotovideo.com/c/product/1278098-REG/canon_1789c002_eos_c700_cinema_camera.html/bi/2466/kbid/3296">PL w/Global Shutter</a></strong></p>
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Caution: Sandisk SD Card Issue with 5D Mark IV

Just picked up a few new 128GB Sandisk SD cards from B&H and ran into an issue with one of them out of the box. The card was not able to be formatted by the 5D Mark IV, would not write to the card, and returned several errors. The write-protect switch was off and tried both ways just in case.

This is the card:
https://www.bhphotovideo.com/c/product/1275616-REG/sandisk_sdsdxxg_128g_ancin_extremepro_sdhc_128gb.html

These are the newer V30 / U3 cards:
SanDisk 128GB Extreme PRO UHS-I SDXC Memory Card (V30)
B&H # SAEPSD128GV3
MFR # SDSDXXG-128G-ANCIN

Not suggesting the problem is wide-spread, but something to be aware of. If you're picking any of these up, be sure to test them thoroughly before discarding the packaging materials.

Defective/bad card was returned to B&H and another was purchased.

For those wondering, these were 100% authentic cards - not import, off-market, or re-branded.

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Canon Photography Series to Run Globally on Netflix

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<em>Tales by Light Season One, produced in Australia, available on Netflix from 11 November, 2016</em></p>
<p><strong>Sydney 10 November 2016:

</strong>Canon Australia is proud to announce that Season One of the brand’s locally conceived and produced photography adventure series, <strong><em>Tales by Light</em></strong> will be available to the global Netflix audience from 11 November.</p>
<p>Shot in stunning 4K resolution, <em>Tales by Light </em>Season One is a six-part series that follows five extraordinary photographers as they push the limits of their craft in little-known, little-covered and little-understood corners of the Earth.</p>
<p>“Having <em>Tales by Light </em>Season One available on Netflix is a wonderful acclamation of the quality and broad appeal of our Australian-made photography series and we are excited that it will now entertain millions of subscribers around the world,” says Canon Australia Director of Consumer Imaging and Executive Producer of the series Jason McLean. “This series is unique and started from our simple aim of celebrating the amazing visual storytellers who push the creative boundaries and it’s great that this concept resonates so well across regional divides.”</p>
<p>Prior to joining the Netflix documentary content line-up, <em>Tales by Light </em>Season One screened initially on the National Geographic Channel subscription network in Australia and New Zealand. Uniting exploration, photography and the natural world, <em>Tales by Light</em>Season One was produced locally in 2015 and offers a rare glimpse into the eyes and minds of some of Australia and the world’s best photographic storytellers. <em><a href="https://www.canon.com.au/about-canon/news-and-press-releases/tales-by-light">Read more at Canon Australia</a></em></p>
<p><strong>Where to view:</strong></p>
<ul>
<li>Click <a href="http://www.netflix.com/" target="_blank">here </a>to watch Season One.</li>
<li>Click <a href="https://youtu.be/zmegZSlJX0M" target="_blank">here </a>to view the trailer</li>
<li>For additional content visit <a href="http://www.canon.com.au/talesbylight">www.canon.com.au/talesbylight</a></li>
</ul>
<p><strong>To follow the adventure:</strong></p>
<ul>
<li><a href="http://www.facebook.com/talesbylight/" target="_blank">Facebook</a></li>
<li>Instagram @talesbylight #talesbylight</li>
</ul>
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Nikon Announces the D5600 DSLR

HTML:
<em>Entry-level DX-format Digital SLR Camera with Seamless Connectivity Ignites Creativity and Sharing by Transforming Social Storytelling</em></p>
<p><strong>TOKYO</strong> – Nikon Corporation is pleased to announce the release of the D5600, an entry-level DX-format digital SLR designed for photography hobbyists and content creators to explore different creative and artistic expressions. With convenient connectivity features, the D5600 is also built for easy sharing and social storytelling.</p>
<p>The Nikon D5600 is equipped with a range of features that encourages users to capture and communicate their stories. Featuring a Vari-angle LCD monitor that flips out and rotates, it is possible to shoot from nearly any angle for greater creative freedom. The touch-screen operation so popular with the D5500 has been further enhanced in the D5600 with the addition of a crop function for use during playback zoom, and a frame advance bar that lets users scroll through images in playback mode easily. The D5600 also incorporates the time-lapse movie function equivalent to that of the more advanced Nikon D7200, enabling users to capture changing scenes over a time period and create stunning time-lapse videos.</p>
<p>In addition, a constant connection between the Nikon D5600 and a smart device is possible using the SnapBridge app and Bluetooth® low energy (BLE) technology. Images captured are automatically transferred to the paired smart device and users can upload and share high quality images in a seamless, integrated process. The image transfer continues even after the camera has been turned off. SnapBridge also enables automatic image upload to NIKON IMAGE SPACE. Furthermore, wireless video transfer and remote shooting are –possible via Wi-Fi®.</p>

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<h3>Primary Features</h3>
<p><strong>1. SnapBridge support for constant connection of the Nikon D5600 to a smart device</strong></p>
<p>Support for the SnapBridge app<sup class="green">*1</sup> means that with one-time setup, a constant connection between the D5600 and a smart device<sup class="green">*2</sup> is maintained, realizing simple automatic transfer<sup class="green">*3</sup> of photos. In addition, a number of convenient functions, including automatic upload to Nikon’s photo sharing service, NIKON IMAGE SPACE<sup class="green">*4</sup>, the addition of copyright information and comments to photos, and automatic synchronization of camera date/time and location information with that of the smart device, can be used. What’s more, the Nikon D5600 also supports the high-speed transfer of selected still images, movie transfer, and remote capture of still images when Wi-Fi<sup class="green">“*5</sup> is enabled.</p>
<p><span class="green">*1 The SnapBridge app can be downloaded free of charge from the App Store® and Google Play™. </span>

<span class="green">*2 The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the Android™ operating system. </span>

<span class="green">*3 Images (JPEG) reduced to 2-megapixel equivalent can be transferred automatically. RAW/TIFF data cannot be transferred. Movies can be transferred by switching to Wi-Fi®. </span>

<span class="green">*4 To upload images automatically to NIKON IMAGE SPACE, Nikon ID registration (free) is required, which can be easily setup via [Nikon ID registration/change] menu on the SnapBridge application. Only when uploading to NIKON IMAGE SPACE via SnapBridge, JPEG data reduced to 2-megapixel equivalent can be uploaded unlimitedly in number and capacity. </span>

<span class="green">*5 The camera cannot be directly paired with a smart device using Wi-Fi. Wi-Fi can be used by enabling it after the camera has been paired with the smart device using Bluetooth®.</span></p>
<p><strong>2. A Vari-angle LCD monitor that makes capturing creative photos easy from any angle</strong></p>
<p>The Nikon D5600 is equipped with a 3.2-inch Vari-angle LCD monitor that enables shooting from low angles, high angles, and even selfies. A touch screen has also been adopted. Naturally, it supports the same touch operation available with the D5500, but it also supports the frame advance bar adopted for the high-end D5 and D500 for scrolling through images in full-frame playback. In addition, the touch Fn function so popular with the D5500 has been expanded to support the enabling and disabling of auto ISO sensitivity control, and operation with viewfinder shooting has also been improved.</p>
<p><strong>3. An effective pixel count of 24.2-million pixels and support for a broad range of sensitivities—ISO 100–25600—enable expression with superior image quality</strong></p>
<p>The camera offers an effective pixel count of 24.2-million pixels. It is equipped with a Nikon DX-format CMOS sensor with no optical low-pass filter. This enables capture of images that make the most of the superior rendering characteristics of NIKKOR lenses. The EXPEED 4 image-processing engine has been adopted, and a broad range of standard sensitivities are supported—ISO 100 to 25600, the combination of which enables capture of highly detailed images in which noise is effectively suppressed, even with shooting in dark or dimly lit surroundings.</p>
<p><strong>4. Equipped with the same time-lapse movie function found in more advanced models</strong></p>
<p>The Nikon D5600 is newly equipped with the time-lapse movie function, which allows users to easily compress long periods of time into short ones, entirely within the camera, to express changes that occur over time, such as the shapes of clouds as they roll by, or the movement of people and cars through city streets. In addition, the exposure smoothing function makes capturing beautiful time-lapse movies easier by suppressing variations in exposure caused by changes in lighting that occur naturally, such as when the sun comes up or goes down. Time-lapse movies recorded with the camera can also be transferred to a smart device via SnapBridge.</p>
<ul>
<li>The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation is under license.</li>
<li>Wi-Fi and the Wi-Fi logo are trademarks or registered trademarks of the Wi-Fi Alliance.</li>
<li>Apple®, App Store®, the Apple logos, iPhone®, iPad®, and iPod touch® are trademarks of Apple Inc. registered in the U.S. and/or other countries.</li>
<li>Android™ and Google Play™ are trademarks of Google Inc.</li>
<li>Other trademarks and trade names are those of their respective owners.</li>
</ul>
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