purpose of lcd panel on a camera pricelist

LCD screens are great, and the quality improves with each new generation of DSLR cameras appearing on the market. But, many professional photographers prefer to use a camera"s viewfinder. We explain the benefits and disadvantages of each.

LCD screens have advantages, but so do optical viewfinders. When it"s time to frame a photo with your DSLR camera, you need to decide which side of the viewfinder vs. LCD debate you lean. Unlike the optical viewfinder, the LCD screen displays the entire frame that the sensors capture. Optical viewfinders, even on a professional level DSLR, only show 90-95% of the image. You lose a small percentage on the edges of the image.

Digital SLRs aren"t light, and it"s easier to produce a crisp, sharp image when you hold the camera up to your eye to use the viewfinder. That way, you can support and steady the camera and lens with your hands. But, viewfinders are generally smaller than LCD screens. Viewfinders are also less convenient to use, especially if you wear glasses.

At the end of the day, though, as intelligent as digital cameras are, the human eye can resolve more detail than an LCD screen. You get a sharper and more accurate view of your image by using the viewfinder.

The biggest drawback with LCD screens is probably shooting in sunlight. Depending on the quality of the screen, you may not be able to use it in bright sunshine because of the glare. All you see are reflections off the screen. Also, the crystals contained within LCD screens tend to flare in bright sunlight, making the situation worse.

Holding the camera at arm"s-length while looking at the LCD screen—and then keeping the camera steady while zooming in on a subject—takes effort. When you use the LCD screen this way, you often end up with a blurry image.

No matter how good an LCD screen is, it"s unlikely to give an accurate overview of the image you took. Most overexpose an image by as much as one full stop. It"s best to acquire the technical knowledge about photography, rather than rely on the LCD screen to determine image quality. With this technical knowledge, you"ll have the confidence your settings are correct, and your images are properly exposed. So, in most cases, it"s best to use the viewfinder. But, if you like the convenience of an LCD, or you wear glasses, use the LCD. It"s mostly a matter of personal preference.

Digital cameras introduced a lot of great features to the world of photography, including the ability to look at a photo that you just shot to ensure that it looks right before you move on to another scene. If someone had his eyes closed or if the composition doesn"t look quite right, you can reshoot the image. The key to this feature is the display screen. Continue reading to understand what"s an LCD.

LCD, or Liquid Crystal Display, is the display technology used to create the screens embedded in the back of nearly all digital cameras. In a digital camera, the LCD works for reviewing photos, displaying menu options and serving as a live viewfinder.

All digital cameras contain full-color display screens. In fact, the display screen has become the preferred method of framing the scene, as only a small number of digital cameras now include a separate viewfinder and are mostly for higher-end cameras. Of course, with film cameras, all cameras had to have a viewfinder to allow you to frame the scene.

LCD screen sharpness depends on the number of pixels the LCD can display, and the camera"s specifications should list this number. A display screen that has more pixels of resolution should be sharper than one with fewer pixels.

Even though some cameras may have a display screen that uses a different display technology than LCD, the term LCD has become almost synonymous with display screens on cameras.

Additionally, some other popular cameras can make use of a touchscreen display or of an articulated display, where the screen can twist and swivel away from the camera body.

A liquid crystal display makes use of a layer of molecules (the liquid crystal substance) that are placed between two transparent electrodes. As the screen applies an electrical charge to the electrodes, the liquid crystal molecules change alignment. The amount of electrical charge determines the different colors that appear on the LCD.

The display screen consists of millions of pixels, and each individual pixel will contain a different color. You can think of these pixels as individual dots. As the dots are placed next to each other and aligned, the combination of the pixels forms the picture on the screen.

A full HDTV (FHD) has a resolution of 1920x1080, which results in a total of about 2 million pixels. Each of these individual pixels must be changed dozens of times every second to display a moving object on the screen properly. Understanding how the LCD screen works will help you appreciate the complexity of the technology used to create the display on the screen.

With a camera display screen, the number of pixels ranges from about 400,000 to maybe 1 million or more. So the camera display screen doesn"t quite offer FHD resolution. However, when you consider a camera screen usually is between 3 and 4 inches (measured diagonally from one corner to the opposite corner). In contrast, a TV screen is generally between 32 and 75 inches (again measured diagonally), you can see why the camera display looks so sharp. You"re squeezing about half as many pixels into a space that is several times smaller than the TV screen.

LCDs have become a commonplace display technology over the years. LCDs appear in most digital photo frames. The LCD screen sits inside the frame and displays the digital photos. LCD technology also appears in large screen televisions, laptop screens, and smartphone screens, among other devices.

LCD, or Liquid Crystal Display is a type of thin, flat display screen; these began to appear in some film cameras to display settings in the 1980s. They are now ubiquitous in digital cameras, to display images, menus and settings. On many digital cameras that have them, LCD displays may be the only form of viewfinder provided. Early digital SLRs were only able to review captured images on their rear LCD panels, but used a reflex finder for composing images. As of 2011, "live view" LCD displays are increasingly used on more advanced digital cameras and (as in the case of EVFs) may eventually displace optical viewfinders entirely.

LCDs may be made as full color pixel-oriented arrays, capable of showing full photo images as described above, or as fixed-format modules, only able to display only pre-defined monochrome symbols or numerals. It is the second type which can be found on early low-resolution consumer digicams, or as frame counter and function control displays on film cameras which use electronic controls.

In simple terms, a live view LCD is the large LCD on the back of the digital SLR camera that lets you preview the photo you"re about to take. This provides you with a second way of composing your photos - the first would involve looking through the viewfinder. Thus, Live View is the alternative (electronic) viewfinder to using the (optical) viewfinder on a DSLR camera that you would normally use.

Bring your creativity to life with the Nikon D5600 digital camera. It features 24.2 effective megapixels, an EXPEED 4 image-processing engine, and has an ISO range of 100-25600 that captures beautiful and vibrant images and time-lapse movies even in low light situations. With Bluetooth and the Nikon SnapBridge app of the camera you can transfer the images to your compatible smart devices. Enjoy ease-of-use and intuitive control with the D5600’s touch interface.

Scroll through images swiftly with the all-new frame advance bar, or easily trim an area of the image by pinching it out. The touch feature lets you make adjustments to a pre-assigned camera setting using your thumb, without looking away from the viewfinder, including auto sensitivity control on/off switching.

The EOS M50 with a large 24.1 MP APS-C CMOS Sensor along with Canon DIGIC 8 Image processor captures even the minute details and creates beautiful artistic impressions with excellent background blur/bokeh effects. It can create high detail low noise images even in dimly lit situations as it offers a normal ISO range capability of ISO100 – 25600. In addition, it allows you to shoot approximately at 7.4fps high-speed continuously with Servo AF to capture your subject with high precision and accuracy.

The camera features a vari-angle touch screen LCD monitor, which not only allows users to shoot self-portraits, but also makes low-angle and high-angle shooting easier, even when holding the camera in a vertical orientation.

Handy and economical, the Sony Alpha 24.3MP Digital SLR Camera lets you take your imaging beyond the capability of a DSLR. Ideal to be carried for your hiking and trekking trips, the Sony mirrorless camera has a large image sensor and bright lenses that make the best use of the light you have. The smart image processor ensures sharp, low-noise images even without a flash. The rechargeable battery, tiltable screens and customization make it an easy upgrade for any image enthusiast.

Sony A5100 is a perfect camera for travellers due to its amazing quality of pictures and videos. Moreover, its rotating screen helps to provide a good reference while selfies.

The Canon EOS 200D II comes with enhanced Dual Pixel CMOS AF performance and functionality especially customised for live view shooting. It includes Eye Detection AF during Servo AF and Movie Servo AF that add on to the convenience while shooting human subjects. If you are a beginner, access to its Creative Assist feature that lets you change the look of your photos.

It works in real-time, which means that you can check details, such as the degree of background blur (bokeh), brightness and color vividness on the rear LCD monitor before you press the shutter button.

The Panasonic Lumix DC-FZ10002 is a hybrid camera that lets you capture stunning pictures. It boasts of a superior 16x optical zoom LEICA lens with the minimum aperture extended to F11, a high-performance sensor, creative 4K feature and a responsive shooting. The FZ1000 II captures crisp and clear images with minimal noise, thanks to the 1-inch incorporated High-Sensitivity MOS sensor.

Because of its large size, the sensor processes a high amount of light and helps produce impressive shots. For precise focusing, the DSLR comes with an OLED viewfinder with 2360k-dor high resolution and the three buttons with it let you have easy access to the menu.

The benefits of the viewfinder and LCD screen are often compared with one another. Depending on whom you ask, you might hear remarkably different opinions on the usability of the two.

Let’s go through some of the pros and cons of both and present you with an objective case for why you should pick one over the other. Keep in mind that this isn’t meant to dictate which shooting method you should use. There are valid reasons to use both; it just depends on the situation.

As discussed above, photography is all about precision. Viewfinders have been around long before LCD screens, and therefore many photographers find viewfinders more comfortable to work with.

Viewfinders offer much more precision when you are shooting, especially on a bright day. It allows you to focus on the small details. Viewfinders reduce image distortion and capture an accurate image. That’s why most DSLRs and high-end mirrorless cameras today still have viewfinders.

Running out of battery is a nightmare for photographers, especially if you don’t have any spares. That’s why viewfinders are considered optimal in these situations. Viewfinders use comparatively much less battery than LCD screens.

If you are shooting in an area where electricity is scarce, or don’t have access to a charger or backup batteries, the viewfinder will be a better choice for you.

Viewfinders are very convenient to use and provide smooth handling. When looking through the viewfinder, it’s easy to keep the camera steady. This makes the viewfinder an optimal choice when you need to zoom in or have a slightly heavier camera.

For many people, this extra effort of adjusting your eyeglasses is troublesome. However, some viewfinder cameras have a built-in diopter that can help make it easier to use with glasses.

Viewfinders can be much smaller compared to LCD screens. As a result, you may not be able to see everything you’re capturing in the viewfinder accurately. This drawback is very important for photographers who want to preview every single detail when taking a picture.

To see details on viewfinders, especially the electronic ones, you have to zoom in on the frame. However, this can lower the resolution of the preview. Luckily, if most of your shots consist of zoom shots, this may not bother you much.

What sets LCD screens apart from viewfinders is their ability to provide 100% image coverage to the photographer. In comparison, cameras with a viewfinder offer around 90-95% of the image, sometimes less.

What you see through the viewfinder doesn’t always end up in the final result. Small details can be crucial. That’s why this 5-10% difference in image coverage can be a significant reason why you might choose an LCD screen over the viewfinder.

When you are in a lower field-of-view, framing can be much more difficult. Many people can’t take a picture while lying on the ground using a viewfinder. This is where LCD screens come in. Flexible LCDs make it easier for you to capture images when you can’t reach awkward angles.

LCD screens produce great results for night photography. LCD screens are often used for night photography due to their bright image playback quality. They help you focus on the small details when you are shooting at night.

An evident shortcoming of the LCD screen is its lack of utility on a bright day. Because of the glare, many people cannot use their LCD screen at all on a sunny day. It’s hard to see anything on the LCD except the reflections.

Another drawback to using an LCD screen is its difficulty in handling it. Holding the camera while looking through the LCD screen is difficult and takes a lot of effort, especially when you are zooming and trying to be precise.

Another disadvantage of LCD screens is the fact that they can easily overexpose your image. This should not be a problem for seasoned photographers who can improve the quality of the image with better handling and precision.

Those were some of the benefits and drawbacks of using a viewfinder and LCD screen to consider. So, which one is best? The answer depends on your personal preferences and budget.

If you’re a traditional photographer, you’ll probably be more comfortable with the viewfinder. If you are a photographer who likes to focus on small details and image quality, you should opt for the LCD screen.

This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data.

This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data.

LCD, or Liquid Crystal Display is a type of thin, flat display screen frequently used in digital cameras, to display images, menus and settings, and also to display settings in some film cameras. On most digital cameras that have them, LCD displays are (or can be) used as the viewfinder, and many do not have any alternative way of composing shots. However, it seems that the majority digital SLRs can only view results on their LCD panels, and frames must be composed using the TTL reflex viewfinder.

LCDs may be made as pixel-oriented arrays, capable of showing full photo images as described above, or fixed-format, able to display only pre-defined symbols. Simple versions of the second type can be found on early low-resolution consumer digicams, or as frame counter and function control display on versatile automatic analog cameras.

An articulating or vari-angle LCD – commonly called a flip screen – is a useful addition to a camera. The screen is mounted on a swivel, allowing you to flip the screen away from the camera body and rotate the LCD 360 degrees.

Flip screens have traditionally been useful for taking photos at unusual angles. For instance, framing a bug’s-eye view from ground level used to mean setting your camera down low and awkwardly trying to see through the optical viewfinder. There was usually a lot of guesswork involved.

With a vari-angle, or flip screen, you can now set the camera up at ground level and angle the articulating LCD up towards you and frame the scene in live view.

Likewise, a flip screen allows you to shoot overhead by swivelling the screen down. Street photographers might also appreciate a swivel screen because it can let you shoot more discreetly. Shooting from the hip is a lot easier with a flip screen and gives you more control. Hold the camera against your body and angle the swivel screen upwards so you can frame your shot, then shoot discreetly.

Despite all these advantages for shooting stills, it’s probably the rise of vlogging that has seen the popularity of cameras with flip screens soar. Like shooting self-portraiture, vlogging requires placing yourself on the other side of the camera, and before flip screens were a thing this required a lot of careful setup and trial and error.

But swivel LCD touchscreens mean you can now place your camera in front of you, frame your shot accordingly and simply tap the screen to take a picture or start recording. If you have even modest ambitions to post videos on YouTube, a camera with an articulating screen will undoubtedly be the best option for you. In this guide we’ll round up the best cameras with flip screens.

Metering: 384-zone metering with Evaluative metering (linked to All AF points), Partial metering (approx. 6.1% of viewfinder at centre), Spot metering: Centre spot metering (approx. 3.1% viewfinder at centre), Centre weighted average metering

Maximum video resolution: Uncropped, internal raw recording 8K video at up to 29.97fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265), Uncropped internal recording 4K video at up to 119.88fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265) 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ, 4K output over HDMI at up to 59.94fps

Autofocus: Dual Pixel CMOS AF II with Advanced Animal AF (recognising dogs, cats and birds) supported in all video modes with 100% coverage and up to 1053 "AF segments"

The Canon EOS R5 leaves little doubt that Canon is now serious about the mirrorless camera market. It has phenomenal specification with features like a 45Mp full-frame sensor, phase detection autofocusing that covers the whole frame, eye AF for humans and animals that works in video and stills mode and a class-leading viewfinder paired with a vari-angle touchscreen.

The Canon EOS R5 is built to a similar standard to the Canon EOS 5D Mark IV and has a magnesium alloy construction along with weatherproof seals. Its handling is also similar, but the control arrangement has changed to accommodate the vari-angle screen.

It’s great to have a vari-angle screen on the EOS R5. It makes it much easier to shoot video from above or below head-height while keeping the kit size and weight down. Also, as the screen is touch-sensitive you can control the camera with a few taps.

Autofocus: Dual Pixel CMOS AF II with Advanced Animal AF (recognising dogs, cats and birds) supported in all video modes with 100% coverage and up to 1053 "AF segments"

While the R6’s viewfinder is the same size as the R5’s (it’s a 0.5-inch type), its resolution is lower at 3.69million dots instead of 5.76million. That’s the same as in the EOS R and on par with the electronic viewfinders in the Sony A9 and Nikon Z7. It’s a great EVF specification for a camera of this level.

If the display performance is set to ‘Power saving’ in the Shoot8 section of the menu, fast-moving subjects look a bit jerky when you shoot them. Switching to the ‘Smooth’ setting makes the movement look more natural.

There’s also a 3-inch vari-angle touchscreen with 1.62million dots. We’re a fan of vari-angle screens because they make shooting portrait or landscape format images from above or below head-height much easier than a fixed screen. And a tilting screen is only of help with landscape format images.

Both the viewfinder and the screen provide an accurate preview of the image as it will be captured. Overall, Canon’s control arrangement on the R6 and use of touch control is excellent and the vari-angle screen is a real asset.

4K Video (XAVC HS): 3840 x 2160 (4:2:0, 10bit, NTSC): 60p (150 Mbps / 75 Mbps / 45 Mbps), 24p (100 Mbps / 50 Mbps / 30 Mbps), 3840 x 2160 (4:2:0, 10bit, PAL): 50p (150 Mbps / 75 Mbps / 45 Mbps), 3840 x 2160 (4:2:2, 10bit, NTSC): 60p (200 Mbps / 100 Mbps), 24p (100 Mbps / 50 Mbps), 3840 x 2160 (4:2:2, 10bit, PAL): 50p (200 Mbps / 100 Mbps)

4K Video (XAVC S): 3840 x 2160 (4:2:0, 8bit, NTSC): 60p (150 Mbps), 30p (100 Mbps / 60 Mbps), 24p (100 Mbps / 60 Mbps), 3840 x 2160 (4:2:0, 8bit, PAL): 50p (150 Mbps)5, 25p (100 Mbps / 60 Mbps), 3840 x 2160 (4:2:2, 10bit, NTSC): 60p (200 Mbps)56, 30p (140 Mbps), 24p (100 Mbps), 3840 x 2160 (4:2:2, 10bit, PAL): 50p (200 Mbps)5, 25p (140 Mbps)

4K Video (XAVC S-I): 3840 x 2160 (4:2:2, 10bit, NTSC): 60p (600 Mbps)56, 30p (300 Mbps)6, 24p (240 Mbps), 3840 x 2160 (4:2:2, 10bit, PAL): 50p (500 Mbps)5, 25p (250 Mbps)

Movie functions: Audio Level Display, Audio Rec Level, PAL/NTSC Selector, Proxy Recording (1280 x 720 (Approx. 6 Mbps), 1920 x 1080 (Approx. 9 Mbps), 1920 x 1080 (Approx. 16 Mbps)), TC/UB, Auto Slow Shutter, Gamma Disp. Assist

Autofocus system: Hybrid AF with 759 phase detection points and 425 contrast detection points, Still images: Human (Right/Left Eye Select) / Animal (Right/Left Eye Select) / Bird, Movie: Human (Right/Left Eye Select), sensitive down to -4EV

After we reviewed the Sony A7 III, a flip-out touchscreen was at the top of our wishlist for improvements we’d like to see on the next iteration of Sony’s full-frame all-rounder. Sure enough, Sony has given the A7 IV a vari-angle screen that can be flipped face forward or be angled to help compose low- or high-level shots in either landscape of portrait orientation.

What’s more, the A7 IV’s 3-inch 1,036,800-dot screen is touch-sensitive and users can now navigate the menus and settings with a tap. In previous Sony touchscreen LCDs, you were limited to setting the AF point via touch.

Sony has also carefully thought through the design, as well, placing the A7 IV’s mic port just above the screen on the side of the camera so it can still move freely when an external mic is plugged in.

Max video resolution: 4K (4096 x 2160) at 30, 25, 24p（approx. 102Mbps), 60, 50p (approx. 202Mbps), 4K (3840 x 2160) 30p, 25p, 24p (approx. 77Mbps), 60, 50p (approx. 152Mbps) all in LongGOP, Full HD (1920 x 1080) 30, 25, 24p / ALL-I（approx. 82Mbps), LongGOP（approx. 22Mbps） 60, 50p ALL-I（approx. 162Mbps, LongGOP（approx. 42Mbps)

OM System has given the OM-1 a very bright 1.62-million dot vari-angle touchscreen. It’s a 3-inch screen and like on the OM-D E-M1 III and OM-D E-M1X and it’s mounted on a vari-angle hinge. This vari-angle hinge means the screen can be angled for clear visibility whether you’re shooting in landscape or portrait orientation.

Like the screens on existing Olympus Micro Four Thirds cameras, the OM-1’s screen is touch sensitive. It responds quickly to a tap and it’s a shame that OM System’s hasn’t extended the touch control to the new main menu.

In overcast conditions and indoors, the OM-1’s screen gives an excellent view it also performs well in brighter conditions. my toughest test for this was when skiing on a bright sunny day trying to video my companions ahead of me. Keeping them framed as we all moved over the piste was challenging, but thankfully, I was able to see them on the screen.

Key video specifications: 4K (3840x2160) 4:2:2 10-bit LongGOP H.264 29.97/23.98p/25p and 150Mbps for up to 30mins, 4K (3840x2160) 4:2:0 8-bit LongGOP H.264 29.97/23.98p/25p and 100Mbps unlimited, Full HD (1920x1080) 4:2:2 10-bit LongGOP H.264 59.94/29.97/23.98p/50/25p and 100Mbps unlimited

Although Panasonic Lumix S5 is smaller than the GH5, it has a well-proportioned and ergonomically shaped grip. A rubber-like coating also ensures that the camera feels secure in your hand. It’s also weather-sealed so you don’t need to worry if the weather changes when you’re out on a shoot.

Despite the shrinkage in size and weight, the Panasonic Lumix s5 has both a 3-inch 1,840,000-dot vari-angle touchscreen and a 2,360,000-dot OLED electronic viewfinder built-in.

The Panasonic GH5 has a vari-angle screen and it was high on the request list for the S-series camera when their development announcement was made. However, the S1 and S1R have 3-way tilting screens. These are useful if you’re shooting in landscape and portrait format images, but they’re not as intuitive or flexible to use as a vari-angle screen and they can’t be seen from in front of the camera.

Happily, the Lumix S5’s screen delivers what many were hoping for and it can be flipped around to face forwards. It means that the S5 could also be a good full-frame vlogging camera.

Further good news is that, like the viewfinder, the S5’s screen provides an excellent preview of the image. If you’re shooting outdoors in bright conditions it’s worth activating the Live View Boost to brighten screen to make the scene easier to see. The screen is also very responsive to touch.

Key video specs: 5.8K (5760x4320) (4:3) at 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM), 5.7K (5728x3024) (17:9) at 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM), 4.4K (4352x3264) (4:3) at 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM), 4.4K (4352x3264) (4:3) at 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM), 4K (3840x2160) at 119.88p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM), FHD (1920x1080) t 239.76p, 800Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM

Sensitivity range: Stills (normal): ISO 100-25600 (expandable to ISO 50-25600), (V-Log) ISO 250-12800 (expandable to ISO 125-12800), Video: (Normal) Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800 (V-Log) Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800 (Hybrid Log Gamma) Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

Maximum stills continuous shooting rate: Mechanical shutter: H: 14 frames/sec (AFS/MF), 8 frames/sec (AFC) (with Live View) M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View) L: 2 frames/sec (AFS/MF/AFC) (with Live View) Electronic shutter: SH75: 75 frames/sec (AFS/MF) SH60: 60 frames/sec (AFS/MF) SH20: 20 frames/sec (AFS/MF) H: 14 frames/sec (AFS/MF), 7 frames/sec (AFC) (with Live View) M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View) L: 2 frames/sec (AFS/MF/AFC) (with Live View)

The Panasonic GH6 has a 3.0-inch 1,840K-dot tilt and free-angle touchscreen with an aspect ratio of 3:2 on its rear. The tilting aspect of the screen isn’t immediately obvious, but pressing the button underneath the monitor’s bottom left corner releases the mechanism so the screen can be tilted up from the bottom.

There are two stop points in the screen’s tilt movement. The first one is at the right point to enable the screen to be flipped out to the side of the camera without catching on the viewfinder while the second one at about 45° gives a more comfortable viewing able when shooting at waist-height.

To the uninitiated, the tilt and free-angle combination may seem a bit over the top but it means that the screen can be flipped out and twisted to face forwards, up or down, without fouling on any of the cables that may be connected to the ports on the left side of the camera (mic, USB-C and full-size HDMI).

With 1.84-million dots, the 3-inch screen gives a good view of the scene and doesn’t suffer to badly from reflections even in sunny conditions (at least not in March in the UK). However, even when shooting video, there are times when it’s preferable to use the 3,680k-dot 0.76x OLED viewfinder. This has a contrast ratio of 10,000:1 and gives a sharp, accurate preview of the scene.

The GH5 is Panasonic’s flagship compact system or mirrorless camera and it has a mini-DSLR design, featuring a high-quality electronic viewfinder and vari-angle touch-screen. As a Micro Four Thirds camera it’s compatible with an extensive collection of Micro Four Thirds mount lenses from Panasonic and Olympus as well as third-party manufacturers.

While its viewfinder is still a 21mm OLED device, its resolution has been bumped up from 2,360,000 dots to 3,680,000 dots from the GH4 and the magnification is 0.76x rather than 0.67x. It provides a very clear and detailed view of the scene.

Panasonic has also upgraded the rear screen and it now measures 3.2-inches across the diagonal and has 1,620,000 dots. It’s still a vari-angle unit but instead of an OLED screen it’s an RGBW LCD. It provides a nice sharp view and the revised menu, which has fewer pages but more lines, is clear. The screen also responds quickly to tap of your finger.

The GH5 is a complex camera and it will take some getting to know, but all the main controls that you want on a shot-by-shot basis, for example to adjust exposure and white balance or to set the AF point are within easy reach. There are also plenty of customisable buttons to help you get it working as you want.

Sensitivity: Video: ISO 80-102,400 expandable ISO 40-409,600. ISO base in S-Log is ISO 640 but it can be expanded down to ISO 160. Stills: ISO 80-102,400 expandable 40-409,600

Autofocus system: Hybrid with 759 phase detection points and 425 contrast detection points, Real Time Eye AF (Human and Animal for stills, Human for video)

4K Video details: XAVC HS 4K 3840 x 2160 (4:2:0, 10bit, NTSC): 120p (200Mbps), 60p (150Mbps / 75Mbps / 45Mbps), 24p (100Mbps / 50Mbps / 30Mbps); 3840 x 2160 (4:2:0, 10bit, PAL): 100p (200Mbps), 50p (150Mbps / 75Mbps / 45Mbps); 3840 x 2160 (4:2:2, 10bit, NTSC): 120p (280Mbps), 60p (200Mbps / 100Mbps), 24p (100Mbps / 50Mbps); 3840 x 2160 (4:2:2, 10bit, PAL): 100p (280Mbps), 50p (200Mbps / 100Mbps) XAVC S 4K 3840 x 2160 (4:2:0, 8bit, NTSC): 120p (200Mbps), 60p (150Mbps), 30p (100Mbps / 60Mbps), 24p (100Mbps / 60Mbps); 3840 x 2160 (4:2:0, 8bit, PAL): 100p (200Mbps), 50p (150Mbps), 25p (100Mbps / 60Mbps); 3840 x 2160 (4:2:2, 10bit, NTSC): 120p (280Mbps), 60p (200Mbps), 30p (140Mbps), 24p (100Mbps); 3840 x 2160 (4:2:2, 10bit, PAL): 100p (280Mbps), 50p (200Mbps), 25p (140Mbps) XAVC S-I 4K 3840 x 2160 (4:2:2, 10bit, NTSC) (Approx.): 60p (600Mbps), 30p (300Mbps), 24p (240Mbps); 3840 x 2160 (4:2:2, 10bit, PAL): 50p (500Mbps), 25p (250Mbps)

Slow and Quick (S&Q) mode options: NTSC: 1fps,2fps,4fps,8fps,15fps,30fps,60fps,120fps, 240fps4, PAL: 1fps,2fps,3fps,6fps,12fps,25fps,50fps,100fps, 200fps

Maximum continuous shooting rate: 10fps with mechanical or electronic shutter for up to 1000 uncompressed raw files when a CFexpress Type 1 card is used

Like previous A7S models, the Sony A7S III has a full-frame sensor with 12.1 million effective pixels. Keeping the resolution down benefits its low-light capability by keeping noise levels down.

As well as a host of improvements to its video specification, the Sony A7S III introduces the highest-resolution electronic viewfinder we’ve seen to date and it’s the first Sony A7-series camera to feature a vari-angle screen.

According to Sony, the 3-inch vari-angle screen wasn’t a request for the A7S III, it was a demand. It’s certainly something I’ve mentioned on many occasions.

In the past, the argument against one has been that a vari-angle hinge is less robust than a fixed screen and that ‘most dedicated videographers use an external monitor’. Those two points may still be true, but one of the key benefits of using a camera like the A7S III is its small size. If you start having to add an external monitor it makes it bigger and heavier.

Sony is also at pains to point out that the A7S III is for new videographers as well as experienced shooters and many of those people are unlikely to want to also lash out on a monitor.

It’s good to see that there’s an option to show a red outline around the on-screen image when the camera is recording. There are times when this is more useful than the usual flashing red dot.

After the 8K-capabilities of the Canon EOS R5, the Sony A7S III might seem a bit of an anti-climax. We’re sure some videographers were hoping for a big jump in resolution from the 12mp A7S II. However, Sony already has the 61Mp A7R IV and the 24Mp A7 III, so sticking with 12Mp means that the A7S III has even better low-light capability than its predecessor but with a much better autofocus system, a vari-angle screen and the highest-resolution viewfinder around.

As with Canon’s full-frame mirrorless cameras, including the flagship Canon EOS R3, the R7 has a vari-angle touchscreen. This is great for composing low- and high-level shots in landscape or portrait orientation. Because Canon has embraced full-touch control, it’s also useful for changing camera settings with a tap.

Overall, Canon’s new flagship APS-C mirrorless camera has a layout and design all of its own, yet it retains some of those signature Canon design marks that will help people quickly adapt to using it.

Although the 0.39-inch 2.36million-dot electric viewfinder on the Canon EOS RP doesn’t match those in recent high-end mirrorless cameras for resolution, it still provides a decent preview of images. And let’s not forget, the RP is much more affordable than other new full-frame mirrorless cameras.

With Exposure Simulation activated, you get an accurate view of the final image’s brightness as well as the colour. However, if you want to see the depth of field, you’ll need to customise one of the camera’s buttons to that purpose. Or of course, you can take a quick shot. That could be avoided, however, if Canon showed the preview with the selected aperture applied.

Like the EVF, the 3-inch screen’s 1.04-million-dot resolution doesn’t really wow these days, but the fact that it’s mounted on a vari-angle hinge is great. That means you can twist it around to give you a clear view whichever angle you’re shooting from. And unlike a tilting screen, it’s useful if you’re shooting in portrait or landscape orientation.

We love that Canon has enabled the RP’s touchscreen to be used for browsing the Quick and main menu, selecting settings and browsing through images as well as setting the AF point. It really speeds using the camera and makes it more intuitive. It’s also good that this isn’t at the expense of physical buttons and dials.

Autofocus system: Intelligent Hybrid with up to 425 points plus subject detection for humans, animals, birds, automobiles, motorcycles, aeroplanes and trains

Max continuous shooting rate: Electronic shutter: 40fps for 184 jpegs, 170 lossless compressed raw or 140 uncompressed raw, Mechanical shutter: 15fps for 1000+ jpegs, lossless compressed raw or 1000 uncompressed raw

Max video resolution: 6.2K (6240x4160) 29.97/25/24/23.98p, DCI 4K (4096x2160) 59.94/50/29.97/25/24/23.98p or 120/100p in High Speed mode, 4K (3840x2160) 59.94/50/29.97/25/24/23.98p or 120/100p in High Speed mode

Viewfinder: 0.5 inch 5.76 million-dot OLED Color Viewfinder with 100% coverage Eyepoint: approx. 24mm Diopter adjustment: -5~+3m-1 Magnification: 0.8× with 50mm lens

Among the many improvements Fujifilm put into the X-H2S over the X-H1 is an upgrade of the LCD screen. Instead of the 3-way tilting screen of the X-H1, the X-H2S has a vari-angle screen that can be flipped out and rotated to face forward for vlogging. This means it’s useful when the camera is above or below head-height in landscape or portrait orientation.

There are a number of handling changes in the X-H2S in comparison with the X-H1, and anyone looking at the camera with fresh eyes cannot fail to be impressed by its build and capability.

Some of the Kodak and other early expensive digital were actually surprisingly high-resolution for their time -- 6MP, 36-bit color. Canon actually specifically recommended some of them for studio portrait work.

Hi, yeah, I would say that 6 MP was enough for general purpose studio portraits. For years we sorta saw that as the holy grail of digital - the point at which we (the portrait chain) could actually make the jump from film to full digital. For us, a high-quality 8x10 inch color print was the minimum requirement, and a 6 MP camera could do this.

You (JDM) are probably not familiar, but our headquarters was practically in your backyard (I know from posts where you"re from). We were a bit north of you, city across the river. If you know any of the photo professors from your local university, they"d be familiar (back then we always had summer interns from their photography degree programs). Anyway, it was a substantially large operation, and we probably saw near every viable camera option. To help make this point I sat in on presentations from Phase One, Megavision, and even Foveon with a proposed studio camera. As a large user of Kodak, Konica, and Fuji paper they made sure we had the opportunity to look at any cameras in their bailiwick. I mostly did the initial screening.

Essentially, none of these early cameras (nor the ones suggested by JDM) were suitable. For our purposes. The EOS DCS 1 had enough resolution, at 6 megapixels, but... wanna see your images? Download to a your computer vis SCSI, then use an image processing program to view. Whatayoudo if someone blinked? Usher the family back into the camera room? I guess you could. The digital backs had enough resolution, and could tether. But... no blur filter so moire out the wazoo. Unless you knew specifically how to avoid it for specific fabrics, etc. And if you can"t keep your sensor protected from dust, well... everybody knows what happens. This sort of stuff is sorta OK if you do low volume hi-price work and can afford the retouch time. But for mass market portrait work, with appointments booked all day... no good.

The LCD Monitor is used to view the menus and camera settings, playback captured images and videos, and also frame your shot (when using Live View). Some LCD Monitors are also Touch-Screens, making it easier to interface with your camera.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

Planar® CarbonLight™ VX Series is comprised of carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility, available in 1.9 and 2.6mm pixel pitch (wall) and 2.6mm (floor).

From cinema content to motion-based digital art, Planar® Luxe MicroLED Displays offer a way to enrich distinctive spaces. HDR support and superior dynamic range create vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge MicroLED technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior décor.

From cinema content to motion-based digital art, Planar® Luxe Displays offer a way to enrich distinctive spaces. These professional-grade displays provide vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior decor.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

From cinema content to motion-based digital art, Planar® Luxe MicroLED Displays offer a way to enrich distinctive spaces. HDR support and superior dynamic range create vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge MicroLED technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior décor.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

LED video wall solution with advanced video wall processing, off-board electronics, front serviceable cabinets and outstanding image quality available in 0.9mm pixel pitch

Planar® CarbonLight™ VX Series is comprised of carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility, available in 1.9 and 2.6mm pixel pitch (wall) and 2.6mm (floor).

Carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility for various installations including virtual production and extended reality.

a line of extreme and ultra-narrow bezel LCD displays that provides a video wall solution for demanding requirements of 24x7 mission-critical applications and high ambient light environments

Since 1983, Planar display solutions have benefitted countless organizations in every application. Planar displays are usually front and center, dutifully delivering the visual experiences and critical information customers need, with proven technology that is built to withstand the rigors of constant use.

Do you find it challenging to find the right Fujifilm cameras online? We have got you covered with the latest prices of these cameras as well as their full specs and features that would probably assist in better decision-making.

Fujifilm or say Fuji is a Japanese multinational company with expertise in photography solutions. Fuji brings a wide range of cameras from DSLR to Point and Shoot, Instant, and Mirrorless cameras available in various models under different price ranges. The brand appeals to professional photographers with its flagship camera lineup that comes with high-end features and so; it has the best Fuji camera for beginners who are looking for an affordable model with ideal features.

Choosing the right Fujifilm camera might be a tough task due to the various available options. Moreover, the internet is flooded with search results which might be confusing to shortlist the suitable camera for you. Take a look at our latest Fujifilm camera collection and decide which camera is right for you. Here, we"ve highlighted the key details of the cameras, such as camera resolution and sensor, connectivity features, battery capacity, etc., to help you make the right choice. Make sure to check user reviews, ratings, and features of all the products before making a purchase. This price list was last updated on February 10, 2023.Fujifilm Cameras Price List in IndiaCameraPriceAvailable FromFujifilm GFX100 102 MP Mirrorless Camera₹7,86,999Upcoming

OPPO Reno8 T has been officially announced in India. It was in the news for over a month, with several leak masters claiming it to be a 4G phone. Most of them turned out wrong, as the device that just landed …

Motorola’s latest entry-level smartphone Moto e13 has been launched in India today. The phone is aimed at first-time smartphone buyers with limited budgets. The Moto e13 has entry-level hardware and is reason…

Android OS is intricately open-source. You can do ‘n’ several customizations that iOS is only starting to catch up with. With that being said, APK is an amazing file format that allows users to install apps t…

Android, Google, Google Play, Nexus and other marks are trademarks of Google LLC. The Android robot is reproduced or modified from work created and shared by Google and used according to terms described in the Creative Commons 3.0 Attribution License. Oreo is a trademark of Mondelez International, Inc. group.