how to replace lcd screen on canon camera made in china

I"ve replaced mine for $10 with a ebay screen from China. That was for a old point and shoot camera. I"ve also noted that prices were much higher for modern DSLR"s. As long as you have proper tools, JIS screwdrivers, not phillips, its just a simple job but requires cleanliness and patience.

My various Canon EOS DSLR bodies see a lot of use under various conditions, mostly sports, but last week was the first time I was really glad I always put a tempered glass protector on the rear LCD of new bodies as soon as I get them. My daughter had a day off from school and we decided to take advantage of the nice Fall weather and go hunting for geodes in a stream near Keokuk Iowa. I brought my 5DS R along and near the end of the day, a piece of a geode I had just picked up fell off taking the worst possible path and it bounced off the back of the display screen. It cracked the protector but the display underneath was pristine and today I replaced the protector.

I put them on primarily so I could use whatever was handy in the field to wipe moisture/debris off the screen which is also the primary reason all of my smaller lenses have front mount clear "filters" which are of high quality but are still "consumable/disposable" from my point of view compared to the front lens element.

The rear display is fairly easy and inexpensive to replace so cracking one isn"t the end of the camera and a protector won"t protect against severe hits but it is cheap insurance and in this case it worked for me.

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This post is about batteries for Canon digital cameras. It"s easy to get confused if you have a few different models of Canon cameras like I do. We"re going to answer the common questions you have about Canon camera batteries.

Right now I am shooting with 3 different cameras that use 3 different batteries. I know what you"re thinking. That"s crazy! We"ll explain that in a minute, but first a quick look at organizing your Canon batteries if you think you"re in need of a backup battery.

If you"re like me you don"t want to waste time searching for the right battery when you"re in the middle of a photo shoot. I use little sticky labels and apply them to the batteries so that I can tell, with a real quick glance, that I"ve got the right one.

You can also label your batteries by date, so that you know which is the freshest battery and which has the most capacity for the longest life. Here is a short video for you to help with staying organized with your batteries for your Canon digital cameras.

I also use sticky labels on the front of my battery chargers.  I have the charges on a shelf in my office and with them easily identified I can insert the battery on the first try and not waste time with trying to engage a battery into the wrong charger.

You do not have to use Canon batteries in your Canon camera. There are many legitimate battery manufacturers that make high quality batteries that will power you Canon with no problems.

I started out as a Canon loyalist when it came to using their batteries.  Like I did, you can live and learn by your mistakes. Provided  any camera accessory is manufactured properly and it is fully compatible with ZERO difference in function , it make sense to go with a third party.

My research found out that the actual cost to manufacture and package a typical digital camera battery is about $3. Yes, you read that right. That"s a serious amount of markup and leaves a lot of room for profit.

There"s enough of a common misconception that if it doesn"t say Canon, it won"t work in your camera. That concept creates enough of a demand to obligate photographers to buy Canon batteries. Don"t get me wrong, Canon batteries are top quality, but there are plenty of other solid options.

All Canon batteries are not the same. Many of them are the same shape because the Canon cameras are built with similar designs. You can interchange Canon batteries with batteries marketed by other companies. Just double check to make sure they"re compatible.

Each Canon camera has its own design and has unique size dimensions as well as different spaces available inside its body. Batteries have to be matched to both fit in a specific location as well as provide a specific amount of power to the camera.

As an example, the EOS R mirrorless camera was designed to accept the same LP-E6 batteries as several of the Canon DSLR cameras as well as several of the Canon mirrorless "R" cameras, such as the R, the R5, the R6, and Ra.

As mentioned, third party batteries are fine provided they are purchased from a reputable company. You DO take a risk if you buy a fake Canon battery, that is a counterfeit that says it"s a Canon battery, but is really a fake.

Any individual or company that is trying to fool you can"t be trusted and you shouldn"t trust the reliability or safety of using their batteries in your expensive Canon camera.

The most well known source of counterfeit batteries can be found on ebay. The easy clue to look for is a "Genuine Canon Battery" priced at the same low price of a legitimate 3rd party alternative.

TEST IT. Buy them and do a full test as soon as you get them.  This takes a little effort to drain a full battery. Shoot video, use the LCD screen continuously on a bright setting, and use the built-in flash frequently to give your new battery a good test.

3RD PARTY. Buy the NON-canon made batteries. Canon is a camera and lens maker not an expert at manufacturing and distributing batteries. Buy batteries from a company that focuses on batteries.

SAVE. Save money and buy them at a discount electronics store, office supply store or get them from a large online retailer with a great return policy like Amazon.

Yes, and they are safe. You"ve heard the many horror stories of cell phone batteries overheating, flaming up and exploding. Have you ever heard of a digital camera catching on fire or exploding? No.

Reputable manufacturers put a lot of care into the safety of you camera batteries so that they don"t overheat and they resist causing any electrical short circuiting

Canon corporation does not make its own batteries. Surprised? Don"t be. The large majority of batteries are made in China. Canon is located in Japan. To the best of my knowledge and at the time of this post, Canon outsources their battery production to a single company in China.

Canon has 4 different types of batteries they use for their EOS digital cameras. These come straight from the Canon Europe website:NP SERIES. Large, high capacity for the professional series cameras

One of the popular camera accessories for Canon shooter is a battery grip.  They give you great access to the camera controls and settings while holding your camera in a vertical "portrait" orientation.

They also give you twice as much shooting capacity and give you a larger, heavier grip for those photographers who have big hands or want the added stability when using longer, heavier lenses.

Thanks for visiting my blog. To see some of my photos or watch some of the videos on Canon equipment, see the links in the signature block below.  Stay inspired. Make sure you"re having fun. If you want to have a blast then shoot a Canon.

Bruce Lovelace is the publisher of Canon Camera Geek. Read more about him on theAboutPage. He also publishes how to articles and camera gear reviews at thePhotography Tipswebsite.

View some of Bruce"s photos onInstagram  andFlickr.Join the tribe of followers onYouTube. Visitthe Canon GeekFaceBook Page.Bruce also runs photo workshops and provides 1 on 1 digital photography coaching.

What docable release shutter buttons do and should you use a genuine canon cable release for your Canon camera or can you get by with another manufacturer?

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The Canon PowerShot SX510 HS is a super-zoom digital compact camera featuring a 30x optical zoom, 12.1 megapixel CMOS sensor, DIGIC 4 processor, optical image stabiliser, FullHD video, wifi connectivity and GPS location tagging. That"s a lot of technology inside a body that is 75% lens. Can it stand up to our rigorous testing regime? Priced at £229 / $249, we hope so. The Canon PowerShot SX510 HS is available in black only.

One of the most exciting things about opening the box of a camera that is a follow on from a previous model is checking what the physical and technological differences/upgrades are. We opened the lid of the Canon PowerShot SX510 HS and removed the paperwork which includes a Getting Started guide, warranty, promotional leaflets and CD which includes a full manual and photo editing software.

Underneath all this was the camera surrounded by the accessories included such as a lithium ion battery, charger and mains cable. There"s also a USB cable and a neck strap for the camera because it"s slightly larger than a typical digital compact camera. Of course, this is because of the 30x optical zoom lens stuck out the front of an otherwise slim body. The zoom isn"t any larger or smaller than the previous model – the SX500 HS. In fact, the entire lens system is identical down to the same amount of lenses in the same amount of groups. That"s a disappointing discovery as the lens quality on the SX500 HS wasn"t that good, with chromatic aberrations and some lens distortion at wide-angle.

One area that has changed is in the sensor. The Canon PowerShot SX510 HS has a 12.1 megapixel back-illuminated CMOS sensor which is a 4 million pixel drop in resolution from the 16 megapixel CCD we saw in the SX500. On top of that is the back-illuminated technology to increase low light sensitivity and the change from a CCD which records sharper images, to a more fuel efficient – but softer – CMOS. Still, in our review of the SX500 we got noise showing through at the low ISO settings, so hopefully, this change in sensor will obviate the noise problem. However, the ISO sensitivity has been raised from ISO 1600 to ISO 3200.

The Canon PowerShot SX510 HS is styled like a bridge camera and has manual control, yet Canon have placed it outside this category and instead placed it in the Superzoom section. That particular cap still fits and it"s most likely that the SX510 HS isn"t in the Bridge section because of the lack of raw recording. Because of the large zoom lens, the camera has an oversized grip to the right so that you can hold on firmly due to the increased weight when compared to a compact camera with a more modest zoom. The shutter release sits on top of the grip with the zoom switch circling it. The command dial that sports the afore-mentioned manual controls is situated just behind with a slight overlap of the back to access it with the thumb. It"s unlikely you"ll do this though because it"s quite firm. We found ourselves using our fingers as well. That"s not a bad thing, in fact we"d rather have a wheel that won"t slip out of the mode we"ve selected.

The pop-up flash sits on top of the lens barrel, hiding until it"s needed. The performance of the flash unit has been improved from a range of 1.4m – 3m at full zoom on the SX500 HS to 0.5m – 3m at full zoom on the SX510 HS. Canon have also added a Smart Flash Exposure mode to the new camera which adjusts the flash power according to the ambient light conditions.  That will be useful when using it at closer quarters.

Two other new features to the Canon PowerShot SX510 HS are GPS and wi-fi connectivity. The camera does need a smart phone to connect through and it also uses the phone"s GPS system to log with it"s own. So don"t be under any reservations that the SX510 HS has a GPS system. It doesn"t, it simply ties in the GPS details with your phone to the time and date information that it has recorded with each picture. Of course that means you have to have the date and time correct on the camera.

The Canon PowerShot SX510 HS can take up to 3.8fps (frames per second) in continuous shooting mode. That sits about right with what we managed to photograph in one second. From a cold start, the camera can start up, focus and take a picture in 1.5sec. That"s pretty cool given that the standard for a camera of this type is around 2-2.5sec.

There are a couple of menus available on the SX510 HS. The easiest one to access is the Function menu. It"s found on the pad on the back of the camera. Pressing the centre button brings the menu up on the left hand side of the screen. You can navigate your way through by using the up and down navigation pad. You can scroll through using the wheel around the pad as well, but this requires pressing right or Set to go into sub-menus. In the Function menu, you can access most used features, such as white-balance, resolution, compression, ISO, burst modes and metering.

There"s also a Main menu that accesses the more in-depth features of the Canon PowerShot SX510 HS. There are two tabs to choose from. One allows you to make changes to operations that affect the shooting modes while the other programs the camera operations such as date & time, languages, power saving mode and screen brightening. You can also format the card or amend how it counts the photographs you take. The screen is lovely and bright with a black background, grey box and orange highlight over white lettering.

Playback is accessed by pressing the blue triangle button on the back of the Canon PowerShot SX510 HS. It will work even when powered down, although you"ll have to hold the button down for a few seconds if the camera is off. The pictures will display full size and by pressing the Disp button, you can add additional information to look at including a histogram. The Playback menu will allow you to perform basic editing on the pictures, such as i-Contrast, Red-eye correction and cropping. You can also resize them and add digital effects using the My Colors sub-menu. You can create a slide-show of your photographs, which is great for displaying a holiday collection. The second tab is for the DPOF system. It allows you to create print orders, select pictures to print and how many. This is available for if you connect the camera directly to a printer without using a computer first.

It"s an interesting move Canon have made with the drop in resolution from 16 to 12 megapixels. The lack of pixels should make pictures less noisy as we go through the stages. The SX500 HS which this camera is replacing showed noise coming through the image even at the lowest settings. It looks like Canon have been hard at work solving that problem, because the low ISO shots are completely noise free.

In fact, it"s not really until ISO 800 that we start to see a slight amount of salt and pepper noise showing through on the darker areas of the test images. Colour noise begins to show at ISO 1600 and it"s not a gradual thing either; it jumps in and attacks.

At the final manual setting ISO 3200, noise is all over the image, though less noticeable in highlights, strong pockets of colour noise affect the darker areas of the shot and black & white flecks spatter the image.

The Canon PowerShot SX510 HS has the same 30x optical zoom as its predecessor, the SX500 HS. At wide-angle, it starts at a 35mm equivalent of 24mm and goes out to 720mm at full zoom.

On a typical, everyday photograph you shouldn"t pick up any irregularities, such as barrel distortion. If you compose the image with the horizon towards the top or bottom of the frame or have vertical/horizontal lines towards the edges of the frame, you might discover barrel distortion.

The lens system is the same as the SX500 HS and we still discovered chromatic aberration easily in a lot of pictures. It"s not only resigned to the edges of the frame either, it does creep in worryingly close to the centre of the frame.

There are two settings of compression for the resolution. Superfine will record images around 5Mb in size. You can knock it down to Fine and images will be around 3.5Mb in size. We still recorded a lot of detail even in the Fine setting, and it will also free up space on the card.

The close focusing of the Canon PowerShot SX510 HS at wide-angle is point blank range. In our test image, the memory card is pressed up against the edge of the lens. It does mean that there"s little light getting in when you do that and the edge definition drops off leaving around 50% of the image in focus.

The Canon PowerShot SX510 HS has a new Smart flash system which compliments the ambient light. It certainly works, by stabilising the available light. There is a lot of vignetting at wide-angle but this is eradicated by the time you get to full zoom.

There"s no Night mode on the SX510 HS because it has manual modes with programmable shutter speeds down to 15 seconds. There is a low light option, but this mode drops the resolution to 3 megapixels and ramps up the ISO in order to avoid camera shake. Pictures in this mode are covered in noise with little or no detail.

This is a selection of sample images from the Canon PowerShot SX510 HS camera, which were all taken using the 12 megapixel SuperFine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

This is a sample movie at the highest quality setting of 1920x1080 pixels at 24 frames per second. Please note that this 43 second movie is 183Mb in size.

The response from readers on Photography Blog about the SX500 IS was a mixed bag of people loving the variety of tech and those not liking the image quality. The latter point is a valid one and it looks as though Canon were paying attention to what consumers were saying. The result is a drop in resolution and some hard work going into the sensor, noise reduction and processor to make it much better. Image quality is now much better on the SX510 HS and the only thing that we find lets it down is the lens.

Having a massive lens on a small camera isn"t a bad idea but the one that"s on the SX510 HS seems to have been directly from its predecessor and that one was riddled with chromatic aberrations. Therefore, the same can be said about the new camera and it"s a real shame to get such good noise control only to have purple fringing along all contrasting lines.

The dynamic range of the sensor isn"t that wide, the camera struggles to expose properly in direct light or complex lighting. It often burns out highlights. We"re sympathetic to the fact that the days we tested the camera were very bright with a low autumn sun that caused havoc with strong shadows. However, we"ve seen better results from other cameras in similar situations.

Using the camera is easy enough, though and even if you don"t have any experience of manual control, there"s plenty of features that will do everything for you while giving scope for improving your photographic prowess if you wish. The UI is typically straightforward so that even a newcomer to photographer will manage to navigate their way around without a lot of fuss.

For a camera at this price point, you get a good amount of features. It"s easy to see a large zoom lens, manual controls and expect it to be like a DSLR and you have to dispel those thoughts while looking at the SX510 HS because it isn"t one. It"s a high grade point and shooter that has some manual modes. It makes it a great little camera for a family that has people who have varied levels of skill in photography.

The only thing really letting the SX510 HS down is the quality of the lens system. Design wise, we"d like to see the ugly zoom switch replaced with something a little more sleek, but that"s a minor digression and we certainly won"t mark the camera down for it. If you"re looking for a superzoom camera that"s quite small and has good noise performance, then you"ll like the SX510 HS. Just take a look at the sample images and look for chroma. If you can live with it, then you"ll like the Canon Powershot SX510 HS.

The Canon PowerShot SX50 HS super-zoom camera has an astonishing 50x lens with a massive focal range of 24-1200mm. The Canon SX50 HS also offers a 12 megapixel back-illuminated CMOS sensor, 2.8 inch vari-angle LCD screen, electronic viewfinder, full manual controls, RAW format support, 10fps burst shooting and full 1080p HD movies. Read our detailed Canon PowerShot SX50 HS review complete with full-size JPEG, RAW and video samples to discover if it"s the only camera you"ll ever need...

The Fujifilm FinePix HS50EXR is a bridge compact camera with a massive 42x, 24-1000mm zoom lens. The HS50 also offers an autofocus lag of just 0.05 seconds, full 1080p movies at 60fps with stereo sound, a 3 inch vari-angle LCD screen, 11ps burst shooting and a 16 megapixel back-illuminated EXR sensor with RAW support. Is this the only camera you"ll ever need? Read our Fujifilm FinePix HS50EXR review to find out...

The Nikon Coolpix L820 is an affordable super-zoom compact camera with a 30x zoom lens. The 16 megapixel bridge-style Nikon L820 has a 3-inch LCD screen, 1080p movies and uses AA batteries. Read our Nikon Coolpix L820 review to find out if this is the right super zoom camera for you...

The Nikon Coolpix P520 is a brand new super-zoom camera with an incredible 42x zoom lens. The 18 megapixel Nikon P520 has a back illuminated 18 megapixel CMOS sensor, 3.2-inch 921K-dot vari-angle LCD screen, full 1080p high-definition movies with stereo sound, built-in GPS, an electronic viewfinder and 7fps burst shooting. Priced at £399.99 / $449.95, read our Nikon Coolpix P520 review to find out if that zoom lens is too big for its own good...

The Olympus SP-820UZ is a bridge compact camera that boasts a 40x zoom lens with an incredible focal range of 22.4-896mm. The 14 megapixel Olympus SP-820UZ also offers a 3 inch LCD screen, 1080p movie recording and a Backlight HDR mode. Read our in-depth Olympus SP-820UZ review to find out if this super-zoom is worth the £280 / $330 asking price...

The Lumix DMC-FZ200 is Panasonic"s premium super-zoom compact camera. Stand-out features of the FZ200 include a 24x zoom lens with a constant aperture of f/2.8 throughout the 25-600mm range, 1080p HD movies, a high-resolution LCD and EVF, fast auto-focusing, 12fps burst shooting and a 12 megapixel MOS image sensor. Read our expert Panasonic Lumix DMC-FZ200 review now...

The brand new Panasonic Lumix DMC-FZ72 super-zoom camera (also known as the DMC-FZ70) features a massive 60x zoom lens with a focal range of 20-1200mm, the biggest of any camera on the market. Other highlights of the FZ72 / FZ70 include a 3 inch LCD screen, full 1080i HD movies, 9fps burst shooting, P/A/S/M modes, RAW support, a flash hotshoe and a 16.1 megapixel MOS sensor. Read our in-depth Panasonic Lumix DMC-FZ72 review now...

The Pentax Optio X90 is a brand new super-zoom compact camera featuring a 26x image-stabilized zoom lens with a focal range of 26-676mm. Successor to the X70 model, the X90 has a 12 megapixel sensor, 2.7 inch screen, full range of creative shooting modes and can record 720p HD movies. Retailing for £329.99 / $399.95, does the Pentax Optio X90 offer enough to match its super-zoom rivals? Gavin Stoker finds out in our Pentax Optio X90 review.

The WB5000 / HZ25W is Samsung"s first entry into the big boy world of all-in-one super-zoom cameras. Offering a 24x zoom lens with 26mm wide-angle setting, the WB5000 literally has most photographic subjects covered, for both 12 megapixel stills and 720p movies. Throw in a range of hand-holding smart modes for beginners and RAW format and Manual mode for advanced users, and Samsung could be onto a winner at their very first attempt. Read our expert Samsung WB5000 / HZ25W review to find out if Panasonic, Olympus et al have anything to fear...

The Sony Cyber-shot DSC-H200 is a new superzoom compact camera that won"t break the bank. The Sony H200 features a 26x 24-633mm lens, 20 megapixel CCD sensor, 720p HD video with stereo sound, 3-inch screen, and even a manual shooting mode. Read our expert Sony Cyber-shot DSC-H200 review to find out if it"s the right super-zoom bridge camera for you...

The Sony Cyber-shot DSC-HX200V is a new premium super-zoom compact camera. A 30x, 27-810mm lens, built-in GPS tracking, 1920x1080 50p Full HD video with stereo sound, an 18.2 megapixel CMOS sensor, high-resolution tilting 3-inch screen, manual shooting mode, 10fps continuous shooting, 3D photos, and SD memory card support are all present and correct. Read our expert Sony Cyber-shot DSC-HX200V review to find out if it"s the right super-zoom bridge camera for you.

The Canon PowerShot SX510 HS is a 12 Megapixel super zoom camera with 30x stabilised optical range and a 3 inch LCD screen. Launched in August 2013 it replaces the one year old PowerShot SX500 IS which is retained in the PowerShot lineup. The SX510 HS is a step down in resolution from the 16 Megapixel CCD sensor in the earlier model, but the 12 Megapixel sensor in the SX510 is a back-illuminated CMOS type providing better low-light performance.

The Canon Powershot SX510 HS was announced in August 2013 and is a mini bridge camera with 30x optical zoom, updating the Canon Powershot SX500 IS. It has a 12.1 megapixel backlit CMOS sensor, full 1080p HD video recording and is available for around £250.

Smart Auto (32 scenes detected), Movie Digest, Program AE, Shutter priority AE, Aperture priority AE, Manual, Live View Control, SCN (Portrait, FaceSelf-Timer, Low Light (3.0MP), Snow, Fireworks), Creative Filters (Fish-eye Effect, Miniature Effect, Toy Camera Effect, Monochrome, Super Vivid, Poster Effect), Discreet, Movie

Smart Auto (21 scenes detected), Standard, Program AE, Portrait, Snow, Fireworks, Miniature Effect, Monochrome, Super Vivid, Poster Effect, Super Slow Motion Movie

My Colors (My Colors Off, Vivid, Neutral, Sepia, Black & White, Positive Film, Lighter Skin Tone, Darker Skin Tone, Vivid Blue, Vivid Green, Vivid Red, Custom Color)

English, German, French, Dutch, Danish, Finnish, Italian, Greek, Norwegian, Portuguese, Russian, Swedish, Spanish, Ukrainian, Polish, Czech, Hungarian, Turkish, Simplified Chinese, Chinese (traditional), Japanese, Korean, Thai, Arabic, Romanian, Farsi, Hindi, Malay, Indonesian, Vietnamese

¹ Wi-Fi use may be restricted in certain countries or regions. Wi-Fi support varies by device and region. For more information visit www.canon-europe.com/wirelesscompactsAll data is based on Canon standard testing methods (according to CIPA Standards) except where indicated.

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However, with a mirrorless camera, manual focus is far more accurate than with a DSLR because the photographer can use focus peaking and focus point magnification to easily see exactly what is and is not in focus.

When you actually look at cameras with the same sensor size, the difference between the DSLR version and the mirrorless version is usually just a few hundred grams.

On the other hand, the histogram is simply a graph showing you how much of the scene is completely black, how much each brightness level is moving all the way up, and what is completely white.

I mentioned already what a benefit it is to see the image preview in the viewfinder for judging exposure, but for night photography, this has an additional benefit.

You can"t judge your composition without taking a series of LONG exposures and waiting to see the resulting image and moving the ball head slightly until you get your composition. It"s a pain.

With a mirrorless camera doing night photography, I can easily see and set up the composition in seconds rather than a series of trial and error shots with a DSLR.

A DSLR"s LCD screen can do something similar in taking advantage of the ISO, but the aperture is different, so it won"t give you an exact preview of what the image will be.

However, in my experience of traveling around the world many times shooting night photography with readers of this blog, I"ve seen that those with mirrorless cameras are often able to focus for night photography MUCH easier than the DSLR crowd.

The real difference is if you take advantage of the system switch to choose a smaller sensor camera (APS-C is the perfect sensor size for my style of photography).

I"ve listed some examples below which are impressive, especially considering that these cameras are far less expensive than the DSLRs that could shoot a similar frame rate.

Another benefit of shooting a burst on a mirrorless camera is that generally, the autofocus does better between frames than on a DSLR because the mirror isn"t required to find focus.

Because mirrorless cameras don"t look huge and professional to the untrained eye, I"m able to get shots in some situations where I wouldn"t be able to otherwise. For example:

At youth sports events, I don"t get weird stares from other parents wondering if I"m a creepo, or if I have a kid on the team (yes, I"ve been asked before on more than one occasion when shooting with a large lens and a DSLR).

I photograph many locations when traveling where pro cameras are banned or require a special permit and there have been a number of times where I"ve made it through security because of the “Oh, that little vintage camera of mine? I just wanted a snapshot of my travel experience” excuse.

However, if the camera can recognize a face, it knows approximately the color balance a face should be and is able to more accurately determine the white balance.

Most mirrorless cameras offer a high number of focus points, and the focus points are far more spread across the entire frame than on an average DSLR.

DSLRs are starting to catch up to what mirrorless cameras are delivering in terms of autofocus points but still fall far behind because of the inherent problems of having the mirror in the way.

This is a nice little benefit when shooting night photography. On many mirrorless cameras like the Fuji cameras, you can show how far your lens is focused from you, right in the viewfinder.

This is helpful when doing night photography to know when you"re focused out to infinity, and it"s much more accurate than the focus distance scale on most DSLR lenses.

With a mirrorless camera, you can set your picture style to black and white so you preview the image while shooting the same way it will look when finished.

Currently, there are still some benefits to having a DSLR with a mirror, but those benefits are being eroded away with each release of new mirrorless cameras.

I personally think it simply makes more sense going forward to not have the mirror in camera bodies, but that it will take many years before having a mirror is a clear drawback to a camera.

I personally don"t think it"s worth switching to a completely new camera system for the one reason for getting the benefits of a mirrorless camera. Not yet.

I am going to make a lot of comparisons between the FX6 and the Canon C70 in this review because the Canon is the camera that is most likely to be compared to the Sony.

Sony is very much pushing the FX6 as being a lightweight, compact mobile production camera that can be used by solo operators. Its small size and low weight certainly do make the camera suitable for anyone who needs to do a lot of handheld shooting without placing the camera on their shoulder.

Even though the FX6 falls under the ‘Cinema Line‘ this camera is very much a blend of the Cinema and alpha cameras. Essentially it is a blend of an FX9 and an a7S III. We recently saw Sony announce the FX3, but that has a lot more in common with the alpha series than Sony’s FX series. Yes, the FX6 is a lot more expensive than an FX3, but in my opinion, it is far better suited to shooting video than an FX3 or an a7S III. The FX6 has SDI, BNC timecode, variable electronic ND, and the ability to load up user LUTs. This is something you won’t find on the FX3 or a7s III.

Sony did what a lot of people were hoping they would do. Take a similar-sized sensor to the a7S III and put it into a larger body with XLRs, SDI, Variable Electronic ND, and TC In/Out. It is hard to complain about the FX6 because Sony essentially gave people what they wanted.

The PXW-FX6 uses a full-frame Approx. 12.9 megapixels (total), 10.2 megapixels (effective) back-illuminated CMOS Exmor R 4K sensor. Whether or not this is the same sensor that is in the a7S III and FX3 is fairly likely. When I asked Sony directly if the FX6 was using the same sensor as the a7S III, the response I got was- ‘The sensors in both cameras utilize the same technology.’

If they had have put the FX9 sensor in the FX6 then they would have had to cripple the camera by reducing frame rates, codec options, etc. Why? Because if they didn’t what would be the difference between the FX6 and the FX9? You can’t have your cake and eat it too. Once you have several camera models below a certain price point in your line-up you put yourself between a rock and a hard place. Complain all you like, but you tell me what else Sony could have done from a business perspective that made more sense. Anybody complaining that they were expecting an FX9 in a smaller body with the same features for less money is living in a dream world.

Above you can see the difference between a standard sensor (on the left), and a back-illuminated sensor on the right. Back-illuminated technology places the metal wiring of the photodiode beneath the diode instead of above it. Back-illuminated sensors offer increased sensitivity and less noise.

The FX6 utilizes the same BIONX XR image processor that is found in the a7S III and FX3. The processor is claimed to be able to read the sensor 3x faster than the a7S II and 2x faster than most traditional mirrorless hybrid sensors. This new processor is claimed to be 4x faster than the one that was used in the FS5.

Because of the low megapixel count, the sensor readout is extremely fast, and this means that the rolling shutter will be almost non-existent. In theory, the rolling shutter performance should be better than that of the FX9 and on par with the a7S III and FX3.

Now, the biggest downside when utilizing a smaller megapixel 4K sensor is that you can only shoot 4K in full-frame. If you switch to the 1.5x S35 shooting mode you are limited to recording in HD. You need to be seriously aware of this because if you are shooting documentaries or events you are going to have serious limitations with focal reach. This alone makes the FX9 a more appealing proposition for certain shooting scenarios.

The sensor in the FX6 allows you to comfortably shoot in very low light environments without generating a lot of image noise. Given the target audience for the FX6, this is something a lot of users are going to appreciate.

Sony is claiming 15+ stops of dynamic range from the FX6, but I would take that figure with a grain of salt. Most manufacturers exaggerate their camera’s real dynamic range. Most cameras have good dynamic range these days and if you can’t make a camera with 12 or more stops of dynamic range work then you are doing something wrong.

Sony is also keen to stress that all of the cameras in the Cinema Line have similar color science and that they have all been designed to match. Given the FX6 has Cinetone, in theory, it should match up pretty well with the FX3/ a7S III, and the FX9.

The FX6 has a full-frame sensor, while the Canon C70 utilizes an S35 sized sensor. The sensor in the C70 is the exact same sensor that can be found in the C300 Mark III. It also utilizes the exact same DGO (dual gain output) technology. You shouldn’t confuse Dual Gain Output with Dual Base ISO. Although it’s the same basic idea of having different readout calibrations, Dual Gain Output is much harder to do than Dual Gain ISO because that switches between the two. What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame.

Unlike the FX9 which has a base ISO of 800 as well as a High Base ISO of 4000, the FX6 has a native ISO of 800 (S-Log3) and what Sony is referring to as a High Sensitivitymode of 12,800 ISO.

Sony was quick to point out that even though this High Sensitivity mode works in a similar way to a dual native ISO, they are not calling it a dual native ISO. I asked Sony if the dynamic range is reduced when you are using this High Sensitivity mode and I was told that they feel that it is fairly comparable to the normal base ISO of 800. We will see later on in the review.

In some ways releasing a camera in 2020 that can only record 4K when a lot of your competition is doing 6K and 8K might at first seem like a strange decision. However, how many people actually need greater than 4K at this point in time? The majority of the content you consume is either HD or UHD, and that is unlikely to change anytime soon. Yes, you could very well argue that capturing at a higher resolution allows for more flexibility with reframing in post or downsampling to get a better 4K image, and those are good arguments, however, if you are capturing in 4K and still delivering in HD (which a lot of people are) you don’t need resolutions above 4K.

However, unlike the FX9 that is downsampling from a 6K sensor to record 4K, with the FX6 you are getting 4K from a 4K sized sensor. I personally feel that the image you get out of the FX9 is better than that of the FX6. In saying that, both are capable cameras.

The worst argument I always hear in regards to resolution is that I am future-proofing my material. Is historical content not being shown anymore because it was captured in black and white, or 4:3 or SD? Of course not. Future-proofing my footage is a ridiculous argument especially considering the majority of peoples’ work isn’t something that needs to be preserved and shown in 20 years’ time. In my opinion, there is no such thing as future proof. Again there is nothing wrong with wanting to capture something in the highest quality possible, but just don’t use the future proof argument.

Eye-popping specifications and marketing hype sell cameras, and the FX6 certainly has a lot of that going for it on paper, despite the fact that it is only a 4K camera.

The FX6, just like the FX9, features a next-generation sensor chipset that Sony claims provides much improved AF with face detection and Eye-AF. This is the same technology that has made its way over from Sony’s Alpha series mirrorless cameras.

The enhanced Fast Hybrid AF system has customizable AF transition speeds and sensitivity settings, and also combines phase-detection AF with contrast AF to help with focus accuracy. The dedicated 627-point phase-detection AF sensor covers approximately 95% in width and 94% in height of the imaging area. Sony claims that this provides consistently accurate, responsive AF tracking, even with fast-moving subjects while maintaining a shallow depth of field.

There are seven-level AF transition speeds from fast-switching between subjects as quickly as possible to slower speeds for longer transitions. Above you can see a quick example showing you the fastest and slowest speeds.

Five-level AF subject shift sensitivity ranges from locked-on, ignoring other moving subjects in the frame, to responsive that switches focus from one subject to another.

The AF works in all resolutions and all frame rates, including UHD at 120p and HD up to 240p. The AF system is also claimed to work really well in low light situations. Sony has really improved its AF technology in recent years and it is sure to be a big selling point for people who are looking at the FX6.

As a comparison, the Canon C70 features EOS iTR AF X. iTR stands for Intelligent Tracking and Recognition. This is the exact same system that is found in the Canon 1DX Mark III.

By utilizing deep-learning algorithms, the system can track a subject’s head with good accuracy regardless of whether they are tuned towards the camera on not.

The C70 also has a distance indicator that works in conjunction with RF lenses. Information from the lens will be displayed on the LCD screen as both a numerical display (distance to the subject) and as a bar display.

There are various AF modes including fast One-Shot AF and Continuous AF available within 80% of the frame both horizontally and vertically with touchscreen selection and control. Tracking AF can also automatically track a selected object even as it moves.

Two face detection modes (Face Priority and Face Only) can automatically detect and track a selected face within the frame or prioritize it over a pre-selected focus point. The C70 doesn’t have Eye Detection AF capabilities.

The Face & Eye Detection on the FX6 works really well and most times it is going to do a very good job. It isn’t full proof, but you could reliably use it for locked-off interviews or tracking people if there isn’t too much else going on in the frame. The one thing you will notice is that it won’t detect the back of somebody’s head if they are walking away from camera or you are following them from behind. I shot this test backlit to challenge the AF system. It is pointless to do an AF test like this indoors under good lighting conditions because it won’t challenge the system.

As a comparison above you can see how the FX6 and Canon C70 compare. The C70 doesn’t have any eye detection like the Sony FX6. However, the C70 can track the back of subjects’ heads which is something the FX6 can’t do. From my testing, I found that both cameras performed well and there wasn’t a huge difference between the two. However, I did find that the Sony system tended to pick up faces quicker than the Canon.

The ability for the AF to still work at very low light levels is very impressive. Above you can see a test where I am stopping down the lens to reduce light levels to see where the AF becomes unusable. As you can see from the test, I was still able to use the AF even when the IRE level got down to around 10.

If you set the AF Subject Shift Sensitivity to 1 (Locked On) you can have objects pass through the frame and the AF won’t deviate. While it isn’t perfect it does work really well. If something stays in front of your subject for around 4 seconds the AF system will eventually lock onto that new object.

One key difference between the Sony FX6 and Canon C70 when it comes to AF is that the Canon has an object tracking mode where you can lock focus on any object and then move the camera around and it will stay locked on that object. With the FX6 it will only track a person.

AF is great for some applications, but by its very nature, it does not work well for everything. Knowing when to use it and when not to use it is key.

While I don’t mind AF, my biggest problem with it is if you try and use it to do focus pulls with a lot of E-mount lenses you end up getting pretty horrible breathing. For example, the Sony 35mm F1.4 has horrendous focus breathing. AF also can’t predict artistic intent and that is why I personally only choose to use it in controlled situations where I know exactly how it will behave.

The a7S III and the FX3 both feature an enhanced 5.5-stop effective 5-axis SteadyShot image stabilization system, which compensates for five different types of camera shake. The FX6 doesn’t feature any type of IBIS, instead, you need to use post stabilization to improve shake.

According to Sony, by recording image stabilization information and using it on the Catalyst Browse/Prepare option, content creators can capture incredibly stable visuals even in handheld mode. Sony is also working to encourage other third-party non-linear editing tools to adopt this functionality.

The advanced image stabilization information means handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software in post-production to look smoother. Unlike in-camera or lens stabilization, metadata generated by the FX6’s built-in gyro allows you to creatively choose the balance between the level of shake compensation, and the resolution. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilization workflows.

The Canon C70 uses a combination IS that allows for coordinated control between the RF mount, an RF lens, and the electronic IS. If you use EF lenses through one of the adapters you still get Optical IS and Electronic IS in camera, but they are done separately.

With the FX6 I didn’t really find that the lack of in-body image stabilization was a massive problem. As you can just tuck the FX6 up against your body when shooting handheld you can create a reasonably steady shooting platform. Would it have been nice if the FX6 had in-body image stabilization? Of course, but it doesn’t. So let’s move on.

The camera does have a Clear Image Zoom setting. What this allows you to do is to create a small zoom in or zoom out. You can control it using the zoom rocker that is on the top handle, or the zoom rocker that is on the side handle. As the FX6 has no ability to shoot UHD or 4K DCI in its S35 mode, the Clear Image Zoom can come in handy.

Above you can see a quick demonstration showing what it looks like. I couldn’t see any perceived loss of sharpness from using the Clear Image Zoom as opposed to cropping in on the 4K DCI image. If anything, the Clear Image Zoom actually looked a little bit sharper than cropping in on the 4K DCI image.

What you need to be aware of is that you lose certain functionality when the Clear Zoom is turned on. Above you can see that the face/eye detection deactivates as soon as I use the Clear Image Zoom.

The FX6 isn’t a massive departure away from the form factor of the FS5 and FS5 II. It looks very similar in a lot of ways, however, you will notice that there is no longer an EVF on the back. According to Sony, not many users were actively utilizing the rear EVF so they decided to get rid of it.

The only monitoring for the camera comes in the form of the 3.5″ 1280×720 LCD touchscreen. While this is ok, it isn’t great. It isn’t overly bright, nor overly large. I personally wouldn’t just want to rely on this for composing, focussing or judging critical exposure.

The LCD screen that comes with the FX6 is the exact same LCD that comes with the FX9. This LCD screen can be moved around and positioned in a variety of places on the camera. Any third-party loupe that works with the FX9, or the actual loupe for the FX9, will work with the FX6.

The top handle, microphone holder, and smart grip are both very similar to those used on the FS5. All of the components have been designed to be modular so you can strip the camera right down for certain applications.

Well, above you can see the difference when we just look solely at the camera bodies themselves. The C70 is wider and a little taller, but the FX6 is deeper.

What you need to factor in is that Canon is not as modular as the FX6. The C70 consists of the camera body and a removable top handle. On the other hand, the FX6 consists of the camera, removable top handle, removable LCD screen, and removable side grip

If we look at the removable top handles we will see quite a few differences between the two cameras. The FX6 handle is considerably larger than the one that comes with the C70. This is where you will find the built-in XLR inputs, various controls as well as the rosette attachment for putting on the removable LCD.

You will also notice that the FX6 handle has quite a few tapped 1/4-20″ threads while the C70’s handle has none. I am not sure what Canon was thinking by not including any mounting points.

As you can see the XLR inputs are located on the removable handle of the FX6. The biggest problem with this is that Sony failed to put a 3.5mm microphone jack on the camera body, so you need to use the top handle to record any type of good audio. This is a massive design blunder in my opinion. You have a small camera that is no longer small if you need to record good audio because you have to use the large top handle. Yes, there is a tiny internal microphone on the body that you can activate if you do remove the top handle, but it is no better than a scratch mic and you can’t really use it for anything other than that purpose.

As far as mounting options go the FX6 has a clear advantage. It features lots of mounting points on the body and better mounting options beneath the camera. It is really strange that Canon only put a single mounting point facing forwards on the bottom of the camera. This means you can’t secure it with two screws onto a tripod plate.

The FX6 weighs in at 890g / 31.39oz (body only) which makes it just 60g heavier than the FS5 M2. It is 153mm (6.02″) long and 116mm (4.56″) high. In fact, the FX6 (body only) weighs just 276g more than the a7S III (body only). If

If we compare it to the Canon C70, the C70 weighs in at 1,170g / 41.27 oz. The C70 has physical dimensions of 6.3 x 5.1 x 4.6″ / 160 x 130 x 116 mm. What you need to factor in is that C70 already has everything attached to it apart from the top handle. Once you had the top handle, LCD screen, and side grip, the weight advantage of the FX6 had disappears.

Below you can see the weight comparison between the FX6, Canon C70, RED Komodo, Kinefinity MAVO 6K S35, Z CAM E2-S6 Super 35, Panasonic EVA1, and the BMPCC 6K Pro.

As you can see, the FX6 is lighter than all of these other available options, but not by a lot. This is sim