The GoPro Hero 13’s biggest upgrades are on the outside

Posted on 04/09/2024 by Mat Smith

GoPro’s latest action cam has officially broken cover, after a few leaks spoiled some of the surprises. With the Hero 13 Black, the company is bolstering its position as the go-to action cam with more versatility and features aimed at high-level users who’ve probably owned a GoPro or two for years. GPS is back, the battery is bigger and there are upgrades to slow-motion capture and more, but the big news might be outside of the camera unit itself.

The biggest upgrade may be the new family of modular lenses it’s calling the HB Series. In addition to ultra-wide, anamorphic (unfortunately not ready for testing) and macro, GoPro is introducing an ND (neutral density) filter four-pack, aimed at amping up motion blur.

GoPro Hero 13 Black lenses and ND filters

If you’re a GoPro fan, you’re probably aware that the company has already dabbled in filters with the Max Lens Mods for the Hero 12, but the company has taken it a lot further here. All the new HB-Series lenses are waterproof and compatible with GoPro’s HyperSmooth video processing. Crucially for non-professionals, the Hero 13 Black will automatically adjust camera settings, including resolution, frame rate and even your Protune settings to match what's attached. This means you may be locked out of certain capture modes, frame rates or resolutions if the lens isn’t compatible. But that’s preferable to recording something special with a lens, only to discover afterward that it looks like a mess or cropped the best parts out.

Depending on how you plan to use your new GoPro, some lenses will offer more utility than others. While I’ve only had the camera for a few days, the Ultra Wide Lens ($100) seems like the most tempting addition. With a new 1:1 aspect ratio, it means you can decide whether your video is vertical or horizontal after capture. The lens expands the field of view to 177 degrees and can still capture 4K at 60fps. During my testing, I liked the flexibility to use footage in both orientations, and not having to fuss so much about framing.

If you’re looking at the Hero 13 Black as an additional camera for interesting cutaway shots and close-ups, the Macro Lens ($130) might tempt you. With a minimal focus distance of 11cm (4.3 inches), that’s four times closer than the GoPro’s original lens. This lens also includes its own rotating ring to hone in on the right focal length. (There’s even a focus peaking option, hidden away in Protune settings).

During GoPro’s presentation, it was the Anamorphic Lens Mod ($130) I was most intrigued by, but I’ll have to wait to test that out. Able to capture video with a 21:9 aspect ratio, it’s pitched as a lens for “professional-level artistic filmmaking.”

The footage is de-squeezed while being captured, making for easier editing. (De-squeezing is the process of correcting any oval-shaped image distortion caused by anamorphic lenses.) I like the notion of an action-cam cropping those mushy stretched edges for punchier footage. Plus, it’ll capture lens flares, too.

When it came to ND filters, I found them challenging to work with in the past, even when they were built into traditional cameras. This is where GoPro’s auto-detection makes a lot of sense. Alongside adjustments to shutter speed to suit the filter and available light, the Hero 13 Black will even indicate arrows if it thinks a stronger (or weaker) ND filter would be better within the four-pack ($70). However, you can’t combine these HD-series accessories, so you can’t use an ND filter with the Macro lens, for example. There’s a new “AutoCinematic” shutter option to optimize motion blur while holding onto image stabilization, while a Motion Blur Protune option lets you tweak exactly how much blur you want.

So what about the camera itself? The Hero 13 Black has a 10-percent bigger battery than its predecessor and can capture around one and a half hours of 4K video at 30fps. There’s also improved thermal performance both when it’s static or moving with airflow. GoPro says the new camera has longer runtimes in both hot and cold environments, claiming that some of the biggest improvements will come if you’re used to capturing in 10-bit video, another nod to pro users.

GoPro has boosted ultra-slow-motion capture to 400 frames per second at 720p resolution. However, this is burst capture, limited to 15 seconds of real-time recording. At its maximum resolution of 5.3K, the Hero 13 Black can capture 120fps for up to five seconds. The Hero 13 Black also supports Hybrid Log Gamma (HLG), an industry-standard HDR format that should yield the highest dynamic range yet on GoPro video.

As I teased earlier, GPS is back, too. This means you’ll be able to search for footage based on location, but the camera can capture telemetry data like speed, path and altitude, pulling that data into your video file. You can then bring this stuff to life with overlay graphics added through GoPro’s Quik app.

There are a lot of smaller, useful UI improvements and upgrades. I won’t touch on all of them, but the most notable may be compatibility with AirPods and other wireless headphones over Bluetooth. The Hero 13 black can capture sounds in a Standard Audio Mode, what GoPro calls “balanced, true-to-life sound,” or there’s a Voice Audio Mode to prioritize speech. With WiFi 6 compatibility, you can also transfer your videos and shots up to 40 percent faster to your smartphone. That’s a true quality-of-life upgrade you’ll notice immediately if you’ve ever had to wait around for files to transfer from action cams (or any camera) over WiFi.

If you’re used to extended shooting (or time-lapse capture), the Hero 13 Black’s new Contacto magnetic door and power cable could be very useful, too. With a pogo-pin style latch, the cable can charge or power the camera from external USB-C battery packs or an adapter plugged into the wall. Notably, it will power the camera even if there’s no battery inside.

GoPro has also decided to add a third mount, a magnetic latch system that works with several new mounts (sold separately). If you’re not here for the peripheral upsell, however, there are still fold-down mounting fingers for extra-secure installation and the standard 1/4-20 mounting threads for your existing tripods and mounts. I love the new magnetic mounts, but now I want one for my tripod, one with a clamp, one for everything. (In the company’s defense, its newest camera is compatible with over 60 GoPro mounts and accessories. It has identical proportions to the Hero 12 Black.)

If you were hoping for a 1-inch sensor you’ll have to wait a little longer. Current GoPro users may be slightly disappointed by what seems to be the same camera sensor. Many devotees online hoped for a larger sensor to boost low-light performance and picture quality. A lot of the upgrades and additions here seem aimed at high-level users, but it’s those same people hoping for a substantial hardware upgrade beneath all the UI improvements and peripheral additions.

The Hero 13 Black is priced at $400 for the standalone camera, while a Creator Edition ($600) bundles the camera with a Volta Power Grip, Media Mod and Light Mod. The company has teased more bundles that will combine its new camera with lenses and other accessories.

All are available for preorder today at GoPro.com and will ship on September 10.

This article originally appeared on Engadget at https://www.engadget.com/cameras/gopro-hero-13-black-release-date-price-hands-on-impressions-130027978.html?src=rss

The best instant cameras for 2026

Posted on 28/08/2024 by Steve Dent

Instant cameras have become a popular category for one simple reason: they’re fun. You can whip one out at a party or event and take a snap, then a couple of minutes later you have a real, physical, instant photo that everyone can touch, feel and enjoy instead of staring at a screen. It’s also a lot cooler than a smartphone shot thanks to the retro, nostalgic vibes of analog photography.

Given the large number of camera brands on the market, choosing one can be tricky. That’s why we’ve put together this buying guide that will help you choose the best instant camera for you based on factors like price, instant film size, photo quality and more.

Best instant cameras for 2026

What to consider before buying an instant camera

The main factor for most people is the size of the film. When most people think of retro instant cameras, they think of a square image size. That’s why Instagram, which used to have a Polaroid-like app icon, only supported square images for years. If that’s what you want, then Fuji’s Square or either of Polaroid’s formats are best.

However, if you want as large an image as possible, Fujifilm’s Instax wide is the way to go. For those who prefer a smaller size to pin on their fridge or slip in an envelope (or the cheaper film), Fujifilim’s Instax Mini or Polaroid’s Go format are best.

With that in mind, here are the choices. Fujifilm’s Instax alone offers three formats: Mini, Square and Wide, with film sizes of 3.4 x 2.1 inches, 3.4 x 2.8 inches and 3.4 x 4.3 inches. The corresponding image sizes are 2.44 x 1.81 inches, 2.44 x 2.44 inches and 2.44 x 3.9 inches.

Leica’s Sofort 2 and Lomography models also uses Fujifilm’s Mini format, while Polaroid’s smaller Go format is 2.64 x 2.13 inches (1.81 x 1.83-inch image) and its i-Type size is 3.46 x 4.21 inches, with a square image size of 3.11 x 3.11 inches.

As for prices, Fujifilm’s Instax films are generally around $1 - $1.20 per shot for square or wide color film and $.60 - $.75 for mini color film. Those prices go up a bit if you choose custom models with colorful or patterned borders, and down if you buy in bulk. Polaroid’s i-Type film is a bit more at about $2.00 per shot or $1.00 - $1.35 per shot for Go color film.

Image quality isn’t really the point with instant cameras of course, as they’re always going to be fuzzy compared to digital photos. However, some models (notably Fujifilm and Polaroid models) are a bit better than others.

And in terms of pricing for the cameras themselves, models with larger film are generally more expensive. It also increases if you add hybrid features like USB-C connectivity, smartphone sharing, the ability to print out photos and more, along with niceties like a selfie mirror. The best, most feature-laden cameras can cost upwards of $200 and basic versions can be well under $100.

This article originally appeared on Engadget at https://www.engadget.com/cameras/best-instant-camera-120034778.html?src=rss

iPhone camera app Halide has an ‘anti-intelligent’ mode to make shooting with RAW easier

Posted on 14/08/2024 by Nathan Ingraham

Halide is one of the best camera alternatives for the iPhone, a lovingly-crafted app that gives users plenty of manual control over the images they take. And today they just pushed out a major update with an intriguing proposition: an “anti-intelligent” camera.

Of course, more advanced digital photographers will already be familiar with the RAW format, something Halide (and basically all digital camera makers) have offered for years now. RAW simply means you’re getting every bit of data straight from the camera’s sensor, with few modifications or enhancements. The iPhone (and, again, most other digital cameras) typically store photos in a compressed format to save space and with a variety of enhancements applied to make the image look great as soon as you click the shutter.

So Halide’s new format, which they’re referring to as “Process Zero,” is the app’s attempt to make RAW a little more user-friendly. When you open the app, you can choose from three settings: ProRAW (Apple’s custom RAW format that does apply some of the company’s image modifications), Apple Processed (which applies the same computational photography tricks that you’ll get when shooting with Apple’s default camera app) and Process Zero.

The left image is captured in Apple's ProRAW format, while the right is captured with Halide Process Zero.

Process Zero gives you a RAW file that you can then apply a quick image brightness adjustment to. One of the big benefits from shooting RAW is that you have wide latitude in brightening up a dark image, or toning down one that is blown out. After you make this adjustment, Halide saves the RAW plus brightness adjustment in a new JPEG file that you can then easily export to other apps like Instagram, VSCO, Lightroom, or whatever image editing tool you choose.

The idea here is to let photographers capture RAW images without the computational and algorithmic changes that Apple makes and then easily do something with those photos. So, when you shoot in Process Zero mode, the phone is taking just one image — unlike the Apple camera, which shoots multiple photos and combines them to make a more balanced result. So while that might lead to an image with more noise and with some darker or lighter areas, it can also be significantly sharper and capture more detail than Apple’s process. Halide posted a detailed blog with tons of info on how this all works, complete with examples, and I highly recommend you check it out if you’re curious.

The Halide team also mentioned that the company is working on a Mark III of their app. But unlike Mark II, which arrived with a ton of new features, they’re planning to early-launch some Mark III features to gather feedback; Process Zero is just the first of those. And if you’re curious to check out these RAW capture updates alongside whatever else is in the works, you can get a yearly subscription to Halide for $12 right now, down from the usual $20 price. (If you hate subscriptions, you can also buy Halide Mark II and the eventually III release outright for $60.)

This article originally appeared on Engadget at https://www.engadget.com/apps/iphone-camera-app-halide-has-an-anti-intelligent-mode-to-make-shooting-with-raw-easier-211802575.html?src=rss

Fujifilm X-T50 review: A big improvement (for a lot more money)

Posted on 07/08/2024 by Steve Dent

Fujifilm’s X-T30 II is one of my favorite cameras, as it offers many of the capabilities of the higher-end models for a lot less money. So I was particularly excited when the company launched the X-T50, which is like a miniature version of the $1,700 X-T5.

It shares many features, including a 40.2-megapixel sensor, 6K 30P video support and, in a first for the series, in-body stabilization. At the same time, it retains the small size and retro-cute styling of past models.

At $1,400 it’s not nearly as affordable as the $900 X-T30, though. To find out if it’s worth an extra half grand, I tested the X-T50 out in London with some professional photographer friends.

Body and handling

The X-T50 is all about portability and style, so it’s nice and light at 438 grams (0.96 pounds), just 50 grams more than the previous model. If you’re traveling with a compact lens, it can easily be slipped into a bag.

At the same time, the grip has been enlarged enough to make the camera easier to hang on to. Operation is largely unchanged, with two control dials, a shutter speed dial and an exposure compensation dial, along with a joystick and eight buttons. However, Fujifilm did introduce one new trick: a film simulation dial in place of the previous drive mode — more on that shortly.

All of that makes it nearly as easy to control as much larger cameras. The dedicated shutter dial is an unusual feature these days, so it does take some getting used to. The advantage is that you can see that setting just by looking down at the camera, a must for discreet street or travel shooting.

Like past models in this series, the X-T50 has a tilt-only display that doesn’t flip out, which is likely a bummer for the vloggers it’s tantalizing with its video capabilities. And rival models like the Sony A6700 and Canon R7 do have flip-out displays. The 2.36-million-dot electronic viewfinder isn’t super sharp, but is par for the course in this price range.

With a smallish battery like the one on the X100 VI, the X-T50 can manage just 305 shots on a charge or 390 in economy mode. That’s near the bottom in its category. By comparison, Canon’s like-priced R7 can take up to 660 photos before the battery dies.

The X-T50 has a decent array of ports, including microHDMI, USB-C and a mic jack. As before, there’s no headphone input, but you can use the USB-C slot with a 3.5mm adapter to monitor audio. It comes with a single, but fast UHS-II card slot.

Performance

If it’s pure performance you’re after, the X-T50 probably isn’t for you. Burst speeds are decent at up to 13 fps in electronic shutter mode or 8 fps with the mechanical shutter — far from the 30 fps of the Canon R7 in electronic mode. Also, the electronic shutter is only good if your subject doesn’t move too quickly, as rolling shutter distortion is very noticeable in this model.

Autofocus still isn’t a Fujifilm strong point, either. When I was shooting quick-moving subjects, it was a bit hit or miss in continuous mode, particularly when they were close to the camera. However, performance depends greatly on the lens being used.

On top of face and eye detection, Fujifilm has added subject-tracking autofocus modes for animals, birds, cars, motorcycles, airplanes and trains. This feature is completely separate from the regular eye and face detection modes, so you have to dive into the menus to switch between them, or program two separate buttons.

For the other types of photography it's designed for, the X-T50's autofocus works well, though it isn’t quite up to Sony, Canon or even Nikon’s standards.

A key new feature is in-body stabilization. With up to seven stops of shake reduction, you can get sharp photos down to about a quarter second. That’s the same as the 557-gram X-T5, which is quite an accomplishment given the size difference. It makes the X-T50 far more versatile, letting you blur motion to create interesting shots or shoot in dark environments.

Image quality

With the same 40MP sensor as the X-H2 and X-T5, the X-T50 offers a major boost in resolution over the 26MP X-30 II. On top of boosting sharpness, the extra pixels make it possible to crop in, something that’s handy for travel photography, wildlife shooting or anything else where you might not be able to get close to the subject.

In-camera treatment of JPEG files is handled well, with pleasant, accurate colors and just the right amount of sharpening and noise reduction. You can often share photos straight out of the camera, with no need for any post-processing — an advantage for street and other photographers who don’t like to mess around in post.

The 14-bit RAW photos offer plenty of room for fine-tuning, as they retain high amounts of detail in highlights and shadows. As such, I saw low levels of banding, noise and other artifacts at low ISOs in all image areas.

The higher resolution doesn’t hurt image quality much in low light, either. Noise is controlled well up to ISO 6,400, and you can go up to ISO 12,800 in a pinch. Considering that the X-T50 is an APS-C and not a full-frame camera, I was impressed with the lack of noise when shooting in bars and other dim environments.

And of course, the X100 VI offers Fujifilm’s full array of film simulation modes, and they’re easily accessible on the new dial. You can experiment with popular looks like Velvia, Eterna, Acros black and white and others. It also comes with Fujifilm’s new Reala Ace, based on one of the company’s old negative films. At the same time, you get a RAW backup in full color, so you’re not locked into a specific look.

Video

With excellent video specs, the X-T50 is a solid hybrid camera, as long as you keep in mind some caveats — particularly around cropping and sharpness.

Much like the X-T5, you can shoot 6.2K at 30 fps with a 1.23x crop, or 4K at up to 60 fps with line-skipping and a 1.14x crop. The cropping occurs because 6K video only requires 24 megapixels, and the sensor/processor combination isn’t up to the job of supersampling the entire sensor width.

The camera also offers sub-sampled 4K at up to 30p using the full sensor width, or high-quality 4K 30p with a 1.23x crop. For super slow-motion, Fujifilm also introduced 10-bit and F-Log2 settings for extra dynamic range.

At 6.2K and 4K HQ, rolling shutter skewing is pronounced so you’ll want to avoid excessive or sharp camera movements. Sub-sampled 4K is better in that area, but video is noticeably less sharp.

Video autofocus matches what I saw with photos, meaning it was decent but not ideal for moving subjects. The AI-powered AF did lock onto subjects, but again, couldn’t always keep up with birds, animals or vehicles.

Handheld video is now a realistic option with in-body stabilization. It works well if you don’t make abrupt movements, and the “boost” mode offers near tripod-like smoothness. Digital stabilization is also available, but isn’t supported with the 6K or HQ modes, and doesn’t reduce jolts when walking.

Video quality is solid for such a small camera, offering the same accurate colors I saw in photo modes. Shooting in 10-bit F-Log made it possible to adjust footage considerably in post or get creative. You can also shoot video using the film simulation modes if you want a specific look straight out of the camera.

Wrap-up

All told, the X-T50 is an awesome upgrade to the X-T30 II, with improvements in nearly every area — particularly resolution, stabilization and video. The film simulation button is a bit gimmicky, but it should appeal to fans of the brand, particularly those who love the X100 VI.

The problem I have with this camera is the price. The $900 X-T30 II was easy to recommend to buyers on a mid-level budget. However, at $1,400, the X-T50 is only $300 less than the superior X-T5, and at that price it has lots of stiff competition from the likes of the Canon R7 and Sony A6700, along with full-frame models like the Canon R8, Nikon Z6 II/Z5/Zfc and Panasonic S9.

Fujifilm likely figured that the X-T50 was nearly as capable as the X-T5 and that the 40-megapixel resolution beats out rivals — but it has priced a lot of potential buyers out of the market. If you’re looking for something that costs around the same as the X-T30 II, Nikon’s $1,100 Zfc is just as pretty and a lot less expensive.

This article originally appeared on Engadget at https://www.engadget.com/cameras/fujifilm-x-t50-review-a-big-improvement-for-a-lot-more-money-180046809.html?src=rss

Fujifilm GFX 100 II: The king of medium-format mirrorless cameras

Posted on 23/07/2024 by Steve Dent

You can's say Fujifilm is boring. It stuck to APS-C sensors instead of going full-frame like everyone else, while releasing cool and weird models like the X100 VI. That strategy has been refreshing in a conservative industry and undeniably successful.

It also went big by introducing its first medium-format camera seven years ago, the GFX50S. After eight models, they’ve proven to be popular among pro portrait and scenic photographers, a market Fujifilm never really had before. Each has become increasingly more sophisticated, with better image quality, faster shooting speeds and improved video.

Now that the company’s flagship $7,500 100-megapixel GFX 100 II, has been out for awhile and had several firmware updates, I was keen to test the new AF speeds and more. So I went to London to try it out alongside two pro photographer friends who are thinking of buying one.

Body

The original GFX 100 is a gigantic camera, weighing over three pounds with the viewfinder. The GFX 100 II is more manageable at 2.27 pounds, the same as Panasonic’s full-frame S1. Photographers are still likely to be carrying a heavy bag, though, as medium-format GFX lenses are generally bigger and heavier than full-frame glass.

The GFX 100 II also feels more like a full-frame camera than an old-school top-down viewfinder medium format model. It has an updated, modern control layout, with a pair of control dials, a mode dial, a joystick, 14 buttons and a movie/photo switch.

The rear display tilts up, down and to the side, but doesn’t flip out — not a huge deal, as this will never be a vlogging camera. It shines where it counts, though, with a high 2.36 million dot resolution and enough brightness to use in sunlight. The viewfinder, meanwhile, is one of the best on any camera, with an extremely sharp 9.36-million dot resolution and 100 percent magnification.

It’s easy to handle, thanks to the well-placed controls and large grip. The top display, which stays on even when the camera is switched off, shows all the main settings at a glance. I’m not a huge fan of Fujifilm’s overly complicated menu system, but it’s fine once you get used to it.

As with other recent high-end cameras, you get both an SD UHS II card slot and a much faster CFexpress B option. The latter is required for fast burst shooting, as I’ll discuss soon. Battery life is solid, with up to 540 shots on a charge, or about an hour of 8K or 4K 60p recording.