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Retro camera enthusiasts will be pleased to see that Gordon Laing of Cameralabs is back with a new Retro Review, this time focused on the Sony F505. This was the first Sony Cybershot digital camera to feature a Carl Zeiss 5X zoom lens (that could be rotated around the camera body), as well as the controversial Memory Stick media format.

2.1 megapixel capture from the Sony Cybershot F505

Watch Gordon's video to find out what it's like to go shooting with this very important camera today, 24 years after it was first announced!

But don't forget, DPReview.com is even older than this camera, so we have a full review you can go back and read if you want to really wallow in nostalgia! One fun bit is Phil Askey stating that the 0.12M dot LCD is 'The best LCD I've seen on any digital camera'!

If you'd like to see more videos, visit Dino Bytes by Gordon Laing on YouTube. Finally, to read coverage of more of Laing's Retro Reviews, click here.

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All images courtesy of Gordon Laing and used with permission

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OM System M. Zuiko 90mm F3.5 PRO

Images by Lauren Haslett

Micro Four Thirds has been a special system for macro photography for a long time now. The crop factor by itself gets you 2x closer than full frame, a frequent benefit in wildlife telephoto photography, while in macro work the smaller lenses can be handy for poking into and under flower petals, leaves and such. (Some camera models also feature in-camera focus stacking, another benefit.)

Leveraging the strengths of its Pro lens reputation, OM Digital Solutions have gone all-out to create a macro monster in the new 90mm F3.5 Macro IS Pro lens. This gives photographers a super telephoto option that can complement the system's existing compact 30mm F3.5 Macro and beloved 60mm F2.8 Macro lenses.

Key specifications

• 90mm focal length (180mm equivalent) with a 14° field of view
• F3.5–F22 aperture range
• 7 rounded aperture blades
• Optical image stabilization with 6 stops of CIPA-rated stabilization
• IP53 weather sealing
• 2:1 magnification, up to 4:1 magnification with teleconverters
• 62mm filter size
• 136mm x 69.8mm (5.35 in x 2.75 in)
• 435g weight (0.96 lbs)
• $1,499.99

What stands out?

Although there have been other macro lenses in the Micro Four Thirds catalog, this 90mm has the longest focal length of all the autofocus macros out there. It is also the very first 2:1 autofocus macro lens in the system, and as far as we can tell, the first 2:1 macro autofocus lens on any system.

When you pull back the manual focus clutch you can see that OM System has thoughtfully included not only the focusing distance scale, but also the magnification at that point in the focusing range. Like other OM System and Olympus lenses, the manual focusing ring has hard stops at either end. Sadly the focus clutch doesn't engage manual focus on Panasonic bodies, so you'll need to do that yourself.

Moreover, its IP53 weather sealing gives users reassurance that the lens is plenty rugged, so bug and animal macro can be achieved no matter what the weather.

Handling and design

The first thing you'll notice when you pick up the lens is how balanced it feels. We expect an MFT lens to be light – after all, light weight and portability are top reasons to choose the system – but it isn't always a given where the fulcrum lies on a lens and how it feels to operate. Will it be heavy in the base where it meets the camera body, adding weight to the body, or will it be heavy at the front glass and focus ring, running the risk of pitching forward? Thankfully, this 90mm is neither; when using it on an OM System OM-1 it felt very balanced, neither pitching in any direction nor adding uncomfortable weight to the body.

There's a set of slider switches about midway down the lens and to the left (just above my thumb in the image above) that are very easy to reach and operate with just the thumb alone. They have a nice click when moved to a new setting, giving physical and audible confirmation that focus range or IS has been changed.

Just outward from the switches is the focus ring, which also houses the pull-down clutch to instantly activate manual focus. The layout of the switches and the ring allowed me to slide the focus limiter switch with my thumb, shift my thumb up to pull back the clutch, then seamlessly adjust manual focus with thumb and forefinger on the ring.

I found the lens to be rather slender and I had no trouble holding it comfortably in my hands (I wear men's large gloves); for reference I was able to wrap my hands around almost 3/4 of the barrel.

Turn me on (or off)

On a 180mm equivalent lens, especially one designed for shooting itty-bitty subjects, we'd hope for a focus limiter, and the M.Zuiko 90mm Macro doesn't disappoint. It has a full range setting, a smaller 0.25-0.5m setting, and an S Macro setting for getting to the 0.224m super close focusing distance, which is where you get the headlining 2x magnification.

Beneath the focus limiter switch is a switch for image stabilization. The lens has its own stabilization, and on recent Olympus/OM System bodies provides Sync IS, and body work in tandem. OMDS rates the in-lens optical stabilization for up to 6 stops of CIPA-spec shake protection and up to 7 stops when used with Sync IS.

Finally, the addition of an accelerometer in the lens helps improve the accuracy of shift movements, which is of particular benefit when shooting macro images.

What's it like to use?

We used the lens on an OM-1 for a few weeks and took to the streets, shooting landscapes, portraits and extreme macros, and by toggling the focus limiter as needed we found the focus to be quick and accurate. Even macro images were sharp during handheld use thanks to the Sync IS you get with that body.

The focus clutch ended up being a highlight of the lens and we enjoyed how quick it was

In a few cases we did need to click back the manual focusing clutch for fine focusing, mainly when battling handheld shake and shift, complex layers of tree branches, or low light.

The focus clutch ended up being a highlight of the lens and we enjoyed how quick it was to engage, enabling rapid on-the-fly switching between manual and autofocus. In a way, it felt like a throwback to mechanical lenses like a '70s era Nikkor lens: sturdy, tactile, simple to use without taking your eye off the viewfinder.

The combination of the clutch and well-laid-out placement of the switches allowed me to spend less time looking at sliders and readjusting my grip, more time making images in the moment. This came in handy not just during macro frames but when shooting portraits, where I'd rather be engaged with the people I'm photographing than the camera settings.

Steady now

A feature of the OM System 90mm Macro that's been somewhat on the downlow is the ability to mount a tripod collar. While OM Digital Solutions isn't officially promoting this use case, you can take the collar off the M. Zuiko 40-150mm F2.8 Pro lens and mount it to the 90mm.

It's a little tricky to remove the collar from the 40-150mm F2.8 Pro lens: once the screw lock is loosened the collar must then be rotated until four slots on the collar line up with four pegs on the 40-150mm lens. There are no markings on the lens or collar to indicate this is how to remove it and it can take a little guessing and checking to get the slots and pegs lined up. Be patient and don't force it or you risk damaging the lens, tripod collar or both.

The 90mm has no pegs and the tripod collar can be slide on in any orientation from the lens mount end until it audibly clicks into place just below the bump for the toggle switch controls. The only way to truly be sure the collar is seated properly on the 90mm is by looking for a thin strip of the underlying bump that the collar sits on top of to be visible (hint: look back at the previous image for the 'what's it like to use' section and you'll see this band just above the 90mm text).

It's nice to be able to use the 40-150mm collar on the 90mm, but a little extra care must be taken to confirm alignment when attaching it. For those with a collection of Pro lenses, this interoperability helps make the OM System feel...well, like a system. That said, this ability has not been tested to work on every camera so your mileage may vary.

The tripod collar is available separately either on the OM System website in the US or, in principle, through your region's customer support.

Get even closer with teleconverters

While a long macro lens was on the OM System lens roadmap for quite some time, there was still a big surprise left in store. The M. Zuiko 90mm F3.5 Macro is designed to work with the two Olympus-branded teleconverters. These add either 1.4x or 2x to the 90mm, giving you an effective focal length of either 126mm (252mm equiv.) or 180mm (360mm equiv.). This enables OM Digital Solutions to state that the lens offers up to 4x magnification, albeit with a penalty to the effective aperture from the teleconverter.

While you might not want to trust your handheld macro skills with either of these magnifiers, they can get you even closer to your subjects, for example to do tripod-based reproduction or, when out in the field, with a flick of the focus limiter nab that rare bird alighting high above you.

The list price of $1,500 might be a bit off-putting but, taken as a whole, the OM System M. Zuiko 90mm F3.5 Macro Pro offers a range of features not readily replicated elsewhere.

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Photo: Nick Smith

Until recently, flying in controlled airspace at night was off limits to someone operating a drone recreationally. In the photo above, commercial drone pilot Nick Smith of Beeline Aerial, had to obtain permission to fly at night over downtown Cincinnati, Ohio. The U.S. city sits in a Class B controlled airspace, a designation for airspace near the U.S.'s busiest airports.

Smith had already passed mandatory tests and met all FAA requirements to become compliant with Part 107, the rules which allow him to request permission to fly in restricted airspace during the day or night. Without being categorized as a commercial pilot, which allows him to request the Low Altitude Authorization and Notification Capability (LAANC) approval, Smith would not have been able to legally capture this image of Cincinnati's skyline.

Last week, the Federal Aviation Administration (FAA) eased these restrictions on who is allowed to request a night flight LAANC when it announced that recreational drone pilots, also known as hobbyists, are now also able to request this permission for night time flight in controlled airspace. The policy went into effect February 20, 2023.

This is a huge step for recreational pilots who could previously only request LAANC approval during daylight hours. Up until now, only commercial drone pilots with Part 107 certification, who also completed the online Recurrent Exam, were eligible to fly at night in controlled airspace with LAANC approval.

LAANC was created in 2017 to give drone operators the ability to secure near real-time approval to fly in controlled airspace. Approval to fly in these areas can be secured in as little as a few seconds to minutes. As illustrated in the set of screenshots below, you can request LAANC as either a Commercial pilot flying under Part 107 or a Recreational pilot operating under Section 44809.

I used Air Control by Aloft on my smart phone to request LAANC access up to 400 feet in Class D airspace. I selected Recreational for the type of LAANC. The time period I selected falls under night time flight. Because it's past February 20th, I am eligible for approval. It is highly recommended you keep a copy of your TRUST certification on hand, should an authority ask.

Before LAANC, anyone looking to operate a drone in said airspace had to fill out a waiver 90 days in advance of the scheduled flight time. The process was time-consuming for both the pilots, who had to write out a lengthy and detailed description of the proposed mission, and the FAA staff members tasked with reading through each one to determine if a waiver met the criteria for approval.

Booming demand for flight requests

The latest data from the FAA's main site reveals that there are over 300,000 certified remote pilots and well over half a million recreational drones registered. LAANC is a solution that helps grant controlled airspace access quickly and easily to a growing number of drone pilots.

As drones have grown in popularity, a solution to scale increasing demand and integrate them safely and legally into controlled airspace became a priority for the FAA. LAANC was first introduced in 2017. As of February, 2022, over 1 million requests to operate in controlled airspace have been approved. LAANC is available at 732 airports and it alerts Air Traffic Control as to where drones are operating in their airspace at any given time.

Getting LAANC approval

LAANC approval can be acquired, free of charge, through an FAA-approved UAS (Unmanned Aircraft Systems) service supplier. The FAA created B4UFly in partnership with Aloft. There are other options such as UASidekick or Google's OpenSky.

Using either a mobile or desktop app, pinpoint the exact area you plan to operate a drone in controlled airspace, designate the maximum altitude you want to fly your drone. Finally, select the date, time and length of your flight. You'll receive a confirmation text and email when your request is approved.

You'll see the numbers 0 to 400 on a controlled airspace grid. These numbers represent the maximum altitude recreational flyers can get approval to operate in that specific area of controlled airspace.

There are a few more steps a recreational flyer will need to complete before he or she can legally operate at night in controlled airspace with LAANC approval.

• Register your drone with FAA DroneZone
• Pass the The Recreational UAS Safety Test (TRUST)
• Make sure you select to fly at or below the altitude defined by the UAS Facility Maps (this will automatically appear in any UAS app).
• Have an anti-collision strobe light affixed to your drone with visibility up to 3 statute miles (Pilot Institute has a thorough breakdown of the best ones their staff has tested)

When does night flight begin and end?

Night time officially occurs between the end of evening civil twilight and the beginning of morning civil twilight. Civil twilight is a 30-minute period that occurs either after the sun sets or before it rises. During these respective 30 minute periods, your drone must be equipped with an anti-collision light.

One final thing to remember is that not all airports offer LAANC. Drone pilots, both commercial and recreational, can log in to the FAA's DroneZone, find their respective portals, and start the process for securing authorization when it's not readily available on a UAS app. Happy (and safe) flying.

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Between penguins and 3 foot snow drifts, there's a real theme to our Fujifilm X-T5 gallery images. Throw on a parka and download some full resolution files to find out how the new 40-megapixel APS-C X-Trans sensor performs!

Want to learn more about this camera? Watch our hands-on review from DPReview TV.

View our Fujfilm X-T5 sample gallery

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It's finally here! A production Fujifilm X-T5 made its way up to Canada, after a short stop in the Seattle lab. After weeks of testing, what is our final impression of Fujifilm's latest retro- SLR inspired camera?

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Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

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• Introduction
• Image quality
• Focus magnification
• Autofocus
• Video performance
• Who is it for?

Fujifilm X-T5 sample gallery from this episode

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Do you expect me to gawk? No, Mr. Bond, I expect you to buy! Image: Leica

In our pop culture obsessed world, few things get the hype train rolling in a frenzy than the anniversary of a beloved brand. For better or worse, brands have become a key way to express our identity. What we wear, use, watch and buy are all choices that reinforce what we believe and what we want to signal to others about us.

Brands, and by extension fandom, have become shorthand visible signs that we belong to something bigger than 'I,' and some use them to celebrate a shared 'uniqueness' and belief in a lifestyle the brand projects. And if you don't believe that, then I have some rectangle red stickers with a Futura font to show you.

We've already seen corporate anniversaries for Disney (100 years) and Nike (50 years) in recent months. Joining them is another pop culture powerhouse: Bond, James Bond.

Bond is a sexagenarian (in the cinema; in novel form he's 70), and to mark the occasion Leica is releasing a limited run D-Lux 7 007 Edition. It's also hosting a photography exhibition from James Bond films spanning 60 years.

Sean Connery in Goldfinger (1964), one of the images on display at the James Bond Archive exhibition. Photograph by Bert Cann/Danjaq, LLC and Metro-Goldwyn-Mayer Studios Inc.

The D-Lux 7 007 has several design nods to the fictional spy, from a 007 logo engraved on the top plate to a lens cap with the classic ‘gun barrel’ design, which opens automatically as soon as the camera is switched on. The camera also comes packaged with handgrip, wrist strap and a camera shoulder holster.

Leica says only 1,962 units of the special-edition set will be available worldwide, in honor of the 1962 release of Dr. No, the first James Bond film to hit cinemas. (*Readers with a golden eye may have noticed that it's 2023, making it Bond's 61st anniversary since the first film. Perhaps 60 was so nice, Bond chose to only live it twice?)

Image: Leica

The camera differs in no functional way from a normal D-Lux 7, which itself, by the way, is essentially a Leica-branded version of the Panasonic DC-LX100 II – a camera we reviewed favorably for its excellent image quality in both Raw and JPEG modes and its large sensor in a small body. But we didn't just live and let die, and we found a few shortcomings in the viewfinder, video and odd UX quirks that made it awkward at times. Be sure to click the link above to see our full review.

The D-Lux 7 007 Edition is priced at $1,995 and is available now direct from Leica or through authorized dealers.

Press Release:

Leica D-Lux 7 007 Edition 

A photography exhibition from James Bond films spanning 60 years accompanies the launch of an elegant, limited special edition of Leica’s high-end compact camera.

TEANECK, NJ – Feb. 23, 2023 – Ever since the world’s most famous secret agent made his on-screen debut in Dr. No (1962), photography has occupied a central role within the James Bond universe. Film producer Michael G. Wilson – who is a keen photographer and passionate collector – has opened EON’s photographic archive for an exhibition of legendary Bond images. The ‘Photographs from the James Bond Archive’ exhibition is on display at Leica Gallery London until 21st March 2023.

Refined, discreet, and always ready for action: the classic James Bond values also perfectly describe the Leica D-Lux 7. The limited special edition offers a particularly elegant exterior and comes with a range of exclusive accessories.

In the opening scene of Dr. No, we encounter the protagonist in Le Cercle Casino at London’s Les Ambassadeurs Club, seated at a Baccarat table. Suave and reserved, Bond has just played his winning hand when his opponent, Miss Sylvia Trench, questioningly addresses him as “Mister…?” Since then his reply has become synonymous with the franchise including the most recent film, No Time to Die (2021): “Bond, James Bond.”

The same air of timeless sophistication characterizes the Leica D-Lux 7 007 Edition. The camera trim is made of a high-performance, rhombus-textured material that is unprecedented on a D-Lux 7. Its subtle rhombus pattern is repeated on the hand grip, which – together with its wrist strap – ensures the safe handling of the camera. The top plate is adorned with the famous 007 logo; the set also includes an automatic lens cap with the classic ‘gun barrel’ design, made famous by the opening sequence of James Bond films.

Another distinctive element of this special-edition set is the leather case in the style of a holster – allowing the camera to be transported comfortably while being instantly ready for action.

With its large image sensor and fast lens – the Leica DC Vario-Summilux 10.9-34 F1.7-2.8 ASPH. (35mm equivalent: 24–75mm) – the Leica D-Lux 7 combines outstanding image quality with conveniently compact dimensions.

To celebrate the James Bond film franchise – which began with the release of Dr. No in 1962 – the special-edition set is limited to exactly 1,962 units. The set is priced at $1,995, comes in a specially designed presentation box and will be available globally at Leica Stores, the Leica Online Store and authorized dealers starting 23rd February 2023.

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Photo credit: Anno Huidekoper

The Pentax KX was the successor to the Pentax Spotmatic F, but it is far more than just a fancy F. Introduced in 1975, it was one of the first Pentax K-mount SLRs. With this new series of cameras, Pentax replaced the screwmount lens type with a bayonet mount system. The K-Series cameras were pretty large and heavy compared to the cameras that came before, but they went on to gain impressive features throughout the 1970s.

Alongside this classic K-mount body, Pentax also introduced 26 K-mount lenses. Some lenses – like the SMC Pentax 30mm F2.8, SMC Pentax 120mm F2.8 and SMC Pentax 150mm F2.8 – are well-regarded to this day. A 24mm F2.0, an 85mm F1.4 and some ultra telephotos for birding came along after the camera launch.

The Pentax KX and its contemporaries

Having been introduced in 1975, the Pentax KX was retired in 1977 when the more compact Pentax MX and ME cameras were released, perhaps in response to where the competition of the time was going.

Three years prior to the KX, the impressively small Olympus OM-1 was introduced. The OM-1 was an all-mechanical SLR. It had a large viewfinder with interchangeable focusing screens but a fixed prism. A motor drive could be attached. All Pentax K models were bigger and heavier.

Photo credit: Anno Huidekoper

In 1976 the Canon AE-1 was introduced, with more electronics, again smaller and lighter than the Pentax KX as well as cheaper. Maybe a bit more plasticky, maybe a bit stripped-down. But who cares? The AE-1 was an instant success!

Nikon's FM, introduced in 1977, was also a bit smaller, had a faster and very affordable winder and had interchangeable focusing screens. And maybe more importantly, it had a much wider range of lenses.

Features

There's a big upgrade under the hood compared to the Spotmatic F it superseded: the KX has a Pentax-made all-mechanical focal plane shutter of rubberized cloth. Since it's mechanical and not electronic, all shutter speeds are still available whether or not the camera has batteries. However, the shutter provides electronic flash sync only up to 1/60 sec.

Photo credit: Anno Huidekoper

As the shutter mechanism of the KX is completely different than the Nikon FM's, rubberized cloth versus metal, you would expect a difference in noise level. But these two competing models produce more or less the same amount of noise (although it's worth noting that the mirror of the Nikon is a lot bigger).

The KX has an optical reflecting system that shows you the aperture setting of the lens. At the right you see in the finder a vertical shutter speed scale. The view through the finder gives a slightly smaller than life-size view.

A special, and very rare, version of the camera was the KX Motor Drive. This model had the capability to couple to a motor drive that included a pistol grip. It could do only 3 frames per second, it was heavy and pretty expensive.

Photo credit: Anno Huidekoper

One big difference between the low-cost Pentax KM and the KX was the light meter material: cadmium sulfide (CdS) versus silicon-diode. The latter works faster and is more reliable. The KX meter-coupling range was also far greater than that of the KM. Like all Pentaxes, the metering is center-weighted. The meter is on when you cock the advance lever and press the shutter release down halfway. The system can be turned off by pushing the lever back to the body. It is a convenient system but perhaps not the best setup for left-eyed users.

Photo credit: Anno Huidekoper

The KX is just a bit bigger than the Nikon FM. But, in typical Pentax form, its rounded design makes it feel smaller and the handling is superb overall. The three-claw stainless-steel bayonet makes changing lenses very easy and the lens release lock is well-designed.

Final thoughts

The Pentax KX was the top manual-exposure model of the K-Series. It had a lot to offer: a depth-of-field preview, a mirror lock-up and a self-timer. It remains a well-built camera with exceptional handling. The viewfinder gives you plenty of information at a glance. The silicon-diode metering works fast and changing lenses is very easy. A new owner of this old camera will appreciate classic Pentax primes like the 28mm F2.8, 50mm F1.8 and 135mm F2.8.

Although the mirror is small, the sync speed is slow, and no affordable motor winder add-on was manufactured, the Pentax KX still excels in many areas.

About the author

Anno Huidekoper is a (street) photographer and designer. He has developed his own metal passe partout line that makes it easy to frame photos. See his work and read more on his website.

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Image: Blackmagic Design

Blackmagic's Studio line of cameras got a major new model today. The new Studio Camera 6K Pro builds on the design and usability of the company's prior Studio options, but adds some advanced features that set it apart. Like past Studio Cameras, this keeps the slim profile, 7-inch rear HDR screen, and broadcast-grade hardline connections like 12G-SDI, 10Gbit/s ethernet, and XLR for audio. Moreover, the built-in tally lamp, large side handles, and pop-up screen shade truly make this ready for studio duty.

Image: Blackmagic Design

The headlining feature is that new 6K ability, which means the addition of a new, higher-resolution sensor. With a resolution of 6144 x 3456, the 6K Pro can shoot from 23.98 to 60 fps. Blackmagic say that this new model has up to 13 stops of dynamic range, with plenty of latitude for color correcting work in post and a max ISO of 25600. Although prior Studio Cameras gave buyers the option of Micro Four Thirds or Canon EF mounts, the 6K Pro is strictly EF-only due to its larger sensor. The sensor is likely a Super 35-size unit from Sony, similar to that used in the Pocket Cinema Camera 6K.

Built-in ND filters provide 2, 4, or 6 stops of protection at the push of a button or enabled remotely from the control room.

Image: Blackmagic Design

Alongside this new top-tier option is a refreshed Blackmagic Studio Camera 4K Pro G2, featuring a Micro Four Thirds mount. Both this camera and the 6K are the first to include built-in livestreaming, sending an HD H.264 feed back to the studio via remote data, like a USB-C connected smartphone or hotspot. Like the 6K, the 4K Pro G2 includes a slew of wired connections like SDI, 10G ethernet, and XLR.

The new Studio Camera 6K Pro is available immediately for $2,495 and the Blackmagic 4K Pro G2 is available for $1,865. These new models join the existing Studio Camera 4K Plus. See the Blackmagic Design website for more information.

Press Release:

Blackmagic Design Announces New Blackmagic Studio Camera 6K Pro

Advanced Studio Camera 6K model with EF lens mount, larger 6K sensor, ND filters and built in live streaming!

Fremont, CA, USA - Thursday, February 23, 2023 - Blackmagic Design today announced the Blackmagic Studio Camera 6K Pro, a new more powerful studio camera model that features an EF lens mount, a larger 6K sensor for improved colorimetry and fine detail handling, ND filters and built in live streaming via Ethernet or mobile data. Blackmagic Studio Camera 6K Pro shares the same compact all-in-one design of the studio camera family with a lightweight carbon fiber reinforced polycarbonate body, large integrated 7" HDR viewfinder and powerful broadcast connections.

Also announced today is the Blackmagic Studio Camera 4K Pro G2, an updated model that now includes built in live streaming.

Blackmagic Studio Camera 6K Pro is available immediately from Blackmagic Design resellers worldwide from $2495.

Blackmagic Studio Cameras have the same features as large studio cameras, miniaturized into a single compact and portable design. Plus with digital film camera dynamic range and color science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so customers can create amazing images even in dimly lit venues. Advanced features include talkback, tally, camera control, built in color corrector, Blackmagic RAW recording to USB disks, live streaming and more. Plus, the new Blackmagic Studio Camera 4K Pro G2 and 6K Pro models add built in live streaming via Ethernet or mobile data so customers can place cameras remotely, almost anywhere in the world.

While Blackmagic Studio Camera is designed for live production, it’s not limited to use with a live switcher. That’s because it records Blackmagic RAW to USB disks, so it can be used in any situation where customers use a tripod. The large 7" viewfinder makes it perfect for work such as chat shows, television production, broadcast news, sports, education, conference presentations and even weddings. The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time.

Amazing sensors combined with Blackmagic generation 5 color science give customers the same imaging technology used in digital film cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter whites, perfect for color correction. Great for both HD and Ultra HD production, the 4K models feature a resolution of 3840 x 2160 and the 6K model has a resolution of 6144 x 3456. Plus, all models support 23.98 to 60 fps.

With the popular EF or MFT lens mounts, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses are incredible quality because they're designed for use in high resolution photography. To eliminate the need to reach around to adjust the lens manually, the optional focus and zoom demands let customers adjust the lens from the tripod handles just like a large studio camera. It gives customers the same feel as an expensive B4 broadcast lens.

Unlike consumer cameras, the Blackmagic Studio Camera 4K Pro G2 and 6K Pro models have SDI connections that include talkback so the switcher operator can communicate with cameras during live events. That means the director can talk to the camera operators to guide shot selection, eliminating the problem where all cameras could have the same shot, at the same time. The talkback connector is built into the side of the camera and supports standard 5 pin XLR broadcast headsets.

Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. The advanced Blackmagic Studio Camera Pro models are designed for broadcast workflows so have 12G-SDI, 10GBASE-T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection so setup is much faster. That's just like a SMPTE fiber workflow, but using standard Category 6A copper Ethernet cable so it's much lower cost.

Now customers can place cameras remotely, anywhere in the world as the Blackmagic Studio Camera 4K Pro G2 and 6K Pro models have built in live streaming. This means customers can place a camera in a remote location and it can generate a H.264 HD live stream that is sent over the internet back to the studio. Simply connect the camera to the internet using the built in Ethernet connection, or customers can connect a 4G or 5G phone to the USB-C port to stream via remote data.

Blackmagic Studio Camera 6K Pro features high quality, remote controllable ND filters that let customers quickly reduce the amount of light entering the camera. Designed to match the colorimetry and color science of the camera, the 2, 4 and 6 stop filters give customers additional latitude even under harsh lighting. The filters are designed to filter both optical and IR wavelengths evenly, eliminating IR contamination of the images. The ND filters can be electronically controlled by the function buttons on the back of the camera, using buttons on the demand and remotely. Because they can be controlled remotely by the camera control operator, the camera operator is free to focus on getting the perfect shot.

"The Blackmagic Studio Camera 6K Pro features an incredible 6K sensor that has amazing low light performance, plus it has an EF lens mount so it supports a massive number of lenses that customers already own.," said Grant Petty, Blackmagic Design CEO. "It has all the high end features of the 4K models, but adds remote controllable ND filters and built in live streaming. I think this will be amazing as customers will be able to place cameras almost anywhere in the world! We think our live production customers will love it!"

Blackmagic Studio Camera 6K Pro Features

• Native 6K sensor with 13 stops of dynamic range.
• Compatible with a wide range of popular EF lenses.
• Live streaming for global remote cameras via Ethernet of mobile data.
• Built in 2, 4 and 6 stop remote controllable ND filters.
• Large 7 inch high brightness viewfinder.
• Includes 12G-SDI, HDMI, 10G Ethernet connections.
• Single 10G Ethernet allows SMPTE fiber style workflow.
• Professional mini XLR inputs with 48 volt phantom power.
• Optional focus and zoom demands for lens control.
• Blackmagic Studio Converter allows all connections via Ethernet.

Availability and Price

Blackmagic Studio Camera 6K Pro are available now from $2495, excluding local duties and taxes, from Blackmagic Design resellers worldwide.

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A bald eagle arrives to steal a perch on a tree log that offers a strategic view of the shoreline at the Chilkat Bald Eagle Preserve in Alaska. When other eagles drag freshly caught salmon in from the water, these bystanders swoop in to take a share. Photo by Karthik Subramaniam

After several years off, National Geographic magazine has brought back a public photo contest and invited hobbyist photographers to send in their best images of the natural world.

Editors at National Geographic judged the contest and landed on nine honorable mentions and one grand-prize winning image. Photographer Karthik Subramaniam's image of a group of bald eagles posting up on a tree branch in hunt of salmon in Alaska took top honors, which means it'll have the rare distinction of being a reader-submitted image published in the magazine (in the May issue).

'Hours of observing their patterns and behavior helped me capture moments like these,' Subramaniam told the magazine about his winning image. A software engineer by day, he said a passion for wildlife photography and some boredom during the Covid-19 pandemic motivated him to pick up the camera and explore nature.

On his winning image, Subramaniam told the magazine that he sees an image of a frozen moment of tension that questions what happens next. To make the image, he took a week-long trip to Alaska from his home in San Fransisco and learned to be patient, observe and wait. He watched the eagles near a fishing ground in Haines, Alaska and noticed a log where a few lingered, and then he also waited with his camera watching the birds and waiting for the moment he took the winning image.

Read more about Subramaniam's winning image, how he made it and see all nine of the other images that the magazine's editors picked as honorable mention for its picture of the year contest, here.

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