Fuji X-T2 review and Canon 5D4 ISO test

My journey to Fuji Mirrorless X-T1 / X-T2

I change gear quite a lot and recently sold my Sony A7II to fund a Canon 5d mkIV which i have to say is a fantastic all round camera. Somehow i never really got on with the Sony, don’t get me wrong, its a fantastic camera, maybe it was just the menu system but it just never felt right in my hands. So there i was all Canon again, but lacking something more portable. I contemplated getting the M5 but hit the usual problem, using my L glass and most of my other lenses on the M5 would probably double the size of the setup so i ruled this out. I also looked at compact cameras, the Ricoh GR seems to have gained cult status and together with the Nikon Coolpix A there are a couple of nice compact APS-C cameras around. In hindsight this may have been the sensible budget solution Instead of an X-T2.

I happened upon a fellow at a local wildlife reserve using a Fuji X-T2 that a friend had loaned him. He was shooting with the Fuji 100-400 and i havd my 5d5 also with my Canon 100-400. In truth i thought from the results i could see on both LCD’s that the Canon glass wiped the floor with Fuji, and i’m not sure i’ve changed my opinion of the Fuji 100-400. However I was intrigued that this little package was shooting 14fps and also had an auto focus system similar to Canon with an algorithm for shooting in different types of situation. I went home and started my investigation, I really didn’t know much about the Fuji X system, but i could see a number of people saying that Fuji had built a new the system from the ground up adn the lenses they had made were mostly fantastic. I also saw that lots of people were trading in their X-T1’s for X-T2’s and you could pick up the old model for about £400. It wasn’t long before i had an X-T1, then 18mm, 35mm and 56mm lenses. About 2 weeks later for no other reason than a better AF and slightly more megapixels i bought an X-T2. Both cameras are really fantastic, in fact even the X-E1 (which shares the same sensor as the X-T1 has remarkably good image quality).

Its intersting to note the DXOmark hasnt tested any Fuji compact system cameras since about 2010, this is because Fuji started using the X-trans sensor instead of a Bayer sensor arrangement used on virtually other sensor. I wont go into the technicalities, i’m sure there are much better articles, the x-trans sensor uses more green than the bayer sensor, this reduces the risk of moire and therefore reduces the need for an anti aliasing filter and therefore makes the resulting pictures sharper. Some people have observed that although sharpness has improved, landscape colours are dull, whilst people colours are among the best out there.

Image result for bayer sensor vs x-trans

 XT-1 vs XT-2

After a week of using the XT-1 i discovered that the auto focus whilst no bad wasn’t that great either. The image quality of the XT-1 is immense and for many people i’d say you would be mad to get an X-T2 when you can pickup the older money for peanuts, you would be much better spending money on one of the fantastic lenses Fuji offers. Both cameras have a fantastic menu system, and those dials mean most of the time you never need to touch the menu’s.


Fuji’s JPEGS are that good i’ve almost stopped shooting in RAW


Whilst using the XT-1, i got into the habit of using auto ISO, this is in part because the functionality on the camera controls it so well and partly because the jpeg that comes out of the camera is created so well that it takes alot of the noise out automatically. Until i’d picked up a Fuji, i would have shaken with fear at the thought of using either Auto ISO or not shooting in RAW – for the XT-1 i’m happy setting the ISO range up to 800


The X-T2 expands on the X-T1 capabilities and offers three Auto-ISO’s! At first it took a little time to get my head around this, but i now have the function button configured on the front of the camera, you can quickly flick between Auto ISO’s. Mine are setup as follows 200-400, 200-800 and 200-1600. As you will see later on, i’d trust the X-T2 to handle ISO right up to 3200 under certain circumstances.

I should also say that the X-T’s seem to shoot about 1/2 -> 1 EV darker than Canon and most other cameras so if the samples look darker its by design – but you should still be able to make a judgement on noise and clarity

Sample XT-1 and XT-2 Images




Meadfoot beach rock pool

I’ll be adding more images in due course as i’m keen to investigate landscape capabilities myself.


Fuji X-T2 vs Canon 5Div

I’ve been really impressed on both Fuji’s with image quality, dynamic range and low light capabilities. we went away to centre parcs the first week i had the XT-1 and i was taking pictures of my daughter in the cabin in low light with surprisingly good results. I noticed that shadow recovery was very impressive and something i’d not seen on all but my latest Canons.

To pre-empt the following section, i’d like to say this is a completely unscientific test by an amateur photographer. I dont review cameras for a living but i hope someone may find the information useful as a comparison of the two cameras RAW files

The two sets of pictures are crops of a much larger photo as the Fuji is APS-C and the 5D4 Full frame, i used an 85mm f1.2 on the Canon and a 56mm f1.2 on the Fuji to give similar focal lengths

Fuji X-T2 1600 ISO
fuji1600 (1 of 1)

Canon 5DIV 1600 ISO
canon1600a (1 of 1)


Fuji X-T2 2000 ISO
fuji2000a (1 of 1)

Canon 5DIV 2000 ISO
canon2000 (1 of 1)


Fuji X-T2 2500 ISO
fuji2500 (1 of 1)

Canon 5DIV 2500 ISO
canon2500 (1 of 1)


Fuji X-T2 3200 ISO
fuji3200 (1 of 1)

Canon 5DIV 3200 ISO
canon3200 (1 of 1)


Fuji X-T2 6400 ISO
fuji6400 (1 of 1)

Canon 5DIV 6400 ISO
canon6400 (1 of 1)


Fuji X-T2 12800 ISO
fuji12800 (1 of 1)

Canon 5DIV 12800 ISO
canon12800 (1 of 1)


I’ve been really impressed with both the dynamic range and high ISO capability of the X-T2, whilst ultimately the Canon 5D mk IV won the day the Fuji was better or equal up to about 1000 ISO and then was very close up to 2500. Past this the Canon was in a league of its own – but we are comparing a full frame twice as expensive camera. Its also worth noting that in testing which was in low light i got far more first shots with the Fuji than the Canon which was really surprising, it may just be the difference between the weight in the two systems.


TechArt Pro AF adapter

Techart Pro Autofocus adapter for Sony A7ii and A7Rii – mini review

Three months and 1 week after i ordered my TechArt Pro Autofocus adapter it arrived at work. I knew there was going to be a wait for this adapter when i ordered it, but due to take up in this mechanical marvel it ended up being much later than originally anticipated, but was it worth the wait?

If you’ve looked at my equipment list of read any Manual Focus reviews, you’ll know that i developed an interest in using vintage lenses on the Sony A7. Part of this curiosity was actually to do with the manual nature of vintage lenses when setting aperture and focusing so i guess buying this adapter is somewhat counter intuitive. But its also interesting and more economic to try out old glass on the Sony than buy some of their stellar AF lenses – so could this adapter could be the poor mans alternative?

TechArt Pro AF adapter

TechArt Pro AF adapter

I’ve now had the adapter for a little under a week and tested a number of lenses with it – A Leica-R Sumicron 50mm f2, a Leica-R Elmarit 90mm, Minolta f3.5 35-70 zoom,  and Minolta 58mm f1.2

The adapter snaps in where you would normally put the “manual” lens to mirrorless adapter. The standard adapters are a lot thicker and need to cover more depth to make up the difference between mirrorless and standard 35mm bodies). The TechArt comes in Leica-M mount as standard and as such you need to use another adapter to convert other lenses. In my case i purchased 1 additional Leica R-M and a Minolta to Leica M adapter. These are priced at $80 (£55) including delivery and here is my first problem with the concept. With all my MF lenses  I’ve been purchasing a £10 adapter to put on each so that it makes it near impossible to find yourself out and about with a selection of lenses but no adapter to fit to the camera – i guess if you were shooting only one brand of vintage lenses this problem lessens, but the cost of the smaller, niche (but still dumb)  TechArt Leica-M conversion adapters is still high.

Techart make two claims on their website Fast and Accurate. In most circumstances the TechArt Pro is accurate, but i wouldn’t call it speedy. In low light and with big apertures it becomes clumsy and seems to hunt quite a bit. That said i’d compare the experience to putting a Canon EF lens like the 70-200L f2.8  mk2 or 24-70f2.8  mk2 on the Sony A7 – in good light the Sony A7 with firmware upgrade and phase detect focusing is pretty nippy and i’d have to agree that all of the above lenses  are as quick at focusing as putting a non-native Canon on. However just like the Canon’s once you see some light drop off, focusing becomes pretty clumsy.

Another “feature” of some of the lenses i tested is that focusing becomes a bit “semi-automatic” – that is to say setting the lens to close focus prevents infinity, setting to infinity prevents close focus and setting to the middle gave neither close or infinity. Indeed in some cases i found myself  not getting a focus lock, thinking it was the light and then having to manually put the lens into a focus range that was approximate before it would “accurately” focus on my target. This in some cases is still faster than trying to manually focus a tiny depth of field

A further complication of problem of using the adapter is that switching to manual focus doesn’t always have the desired result – i think you would want the adapter to extend to its full amount so that the distance from lens rear glass to sensor replicates that of a manual adapter. In test so far this has been a little random, leaving you without the ability to shoot manual at close range / infinity. This is amplified if say you are using a lens with a  macro mode where manual focus is more important. The adapter couldn’t Auto focus the 35-70 in macro at all – but when switching to manual it left the lens in a position that left the focal range far too away from the subject. I think this could be fixed in a firmware upgrade of maybe with an App

Firmware upgrade – my adapter shipped with the early firmware and i immediately upgraded it to the latest version (2.0 at time of writing) the upgrade was pretty painless and achieved by downloading a mobile phone App (available for Android and IOS – sorry Windows phone users you may be screwed) and Bluetooth to the adapter by setting it to f90 on the camera

My Minolta adapter fitted my MD lenses perfectly, but gets jammed on my Rokkor 58mm f1.2 and 50mm f1.2 and requires screwdriver persuasion to remove it – something i’ve let TechArt know about – but a little disappointing for £55 (especially when there is no need for the adapter to cost more than £10).

Minolta TechArt adapter

Minolta TechArt adapter


Battery Life – I’m not sure how much this adapter impacts on battery life, it didn’t seem to drain much more than using lenses as MF only. The Sony A7ii is still pretty poor with battery life and i’m used to carrying 2-3 spares at all times.


Feedback on lenses i tested  – I will try and do some more scientific test soon!

Leica-R Sumicron 50mm f2 – I felt this lens worked the best with minimal adjustments needed to focus

Leica-R Elmarit 90mm – This lens requires a really huge amount of turning to focus manually – it required a little adjustment on the camera – but the AF made it easier to pocus at speed then using MF

Minolta f3.5 35-70 zoom – Worked quite well, the lens didn’t suffer from focus breathing so you could zoom and focus pretty accurately

Minolta 58mm f1.2 – I felt this was the worst performer especially wide open and focus hunted even in good light



Example Shot – Leica 50mm Sumicron f2 in relatively dark environment – the focus on this was speedy and very accurate

Sample taken with Leica Sumicron 50mm on Techart Pro

Sample taken with Leica Sumicron 50mm on Techart Pro

The two shots below show AF accuracy taken in a poorly lit room on the Sony A7ii at 400ISO on the Elmarit 90mm. I’ve performed similar test on my Canon AF gear and not got such good results which is incredible for a lens that was never designed to be auto focused and testament to both the adapter and the camera’s built in stability.

Sample taken with Leica Sumicron 90mm on Techart Pro

Sample taken with Leica Sumicron 90mm on Techart Pro

Sample 2 taken with Leica Sumicron 90mm on Techart Pro

Sample 2 taken with Leica Sumicron 90mm on Techart Pro




Overall i think this adapter is a keeper and a good addition for people that like to use vintage lenses. It has some positives and is better than manual focusing in some applications.  If i was solely shooting Landscapes on the Sony A7 i dont think i’d bother trying to add auto-focus,  likewise i don’t think it will ever be that good for Sports or reluctant toddlers that refuse to stand still. I did find the adapter useful for street photography (so long as you don’t mind the noise) and it gives a new dimension and life to some MF lenses.














Feisol Tripod

Tripod – Your 3 legged best friend

Gitzo Systematic for one third the price!


Feisol Tripod

Feisol Tripod

I’ve been meaning to write a review or at least some thoughts about my super bargain Tripod. Doing lots of landscape photography, i found early on that a tripod was an essential bit of kit for really good quality photos, especially when doing bracketed exposures.

I started out with a Travel tripod, which i still use, especially when hiking far from the car, but whilst this is a more convenient size, its thin legs and center post don’t make this the most stable of platforms to use. I wont go into details of that tripod here, but i do want to talk about my main tripod and the research and decision making process for getting it, together with the absolute bargain head from Amazon.

I’d read much about various tripods, what i was looking for was a tripod without a center column for absolute stability. This means something with pretty long legs, especially as i’m 6ft 4″ – finding any tripod that doesnt mean i’m hunching over is pretty tricky. The gold standard for this type of Tripod appeared to be the Gitzo Sytematic, it is of carbon construction,  has a height of 150cm and 3 leg sections (also available as 4 sections) and weighs in at 2.95kg – the only drawback is the price, which in the UK is currently retailing at £799 !!! As an ex Triathlete and Cyclist spending £799 on a bike frame wouldn’t phase me, but essentially asking that kind of money for 9 carbon poles with telescopic clamps seemed a bit overpriced.

I’d almost got to the stage of contacting various Chinese distributors and trying to make my own Tripod with Carbon poles, but after much research on various forums i saw another name being mentioned a lot – Feisol. The forums indicated that Feisol made very sturdy good quality tripods os i check out their website – this is the link to the UK website 

Being on a bit of a tight budget and needing a tall tripod, i opted for their “large” range – amazingly this was very similar in specification to the Gitzo. Here are the specs – Height 155cm, Weight 2.2Kg in 3 carbon sections and for a price of £269!!! Thats a saving of 0.75kg and £530 !!!!!!!!!

I have to admit at this stage to never using a Gitzo and frankly for an extra £530 i dont hink i want to. What i can do is give an honest opinion on the Feisol tripod. I frequently use this tripod on Dartmoor and by the coast, in both these locations it can get pretty windy to say the least. I’ve used the Feisol in winds of up to 50mph in fact in a couple of storms that have come over from USA hurricanes, on top i’ve had quite a heavy Canon 1D or 5D series camera and this platform has never once seems like moving – its rock solid.

I guess only difference in specification between the Feisol and the Gitzo is the weight they claim they can hold on their respective sites/specifications The Feisol is rated up to a maximum of 12kg, whilst the Gitzo a whopping can carry a safe payload of 40kg. But lets just thing about that for a second, my Canon 1dsIII weighs in at 1.5KG and the biggest monster lens i have is the Canon 500mm f4 which weighs in at 4KG, if i’m mounting the 500mm f4 lens i’m probably using a heavier than normal tripod gimbal type head which is 1.5kg – that’s a total of 7KG for a pretty extreme setup.

I my conclusion is if you want a really good tripod for a very sensible price then the Feisol is a really really good buy, however if you want to pay through the nose for a main stream brand that you could mount the Hubble telescope on then the Gitzo is a sensible choice.


Ok so the story isn’t quite complete, to mount my DSLR on the Feisol, i needed to also get a Tripod Head, i suspect there are better heads on the market, however seeing them range in price from £70 to £300 just for a head, i was very happy to find an absolute bargain on Amazon – the Andoer® Camera Tripod Ball Head Ballhead with Quick Release Plate 1/4″ Screw –  it costs just £14.79!! and does what it says on the tin! If i had one gripe, turning the camera to portrait on this head is pretty tricky and probably best achieved with a longer plate or type that wraps the camera base and one side like a 1/2 cage.










Canon 80D

Quick Review of the New Canon 80D


This morning i woke up to an e-mail fro Wex Photographic heralding the arrival of the new Canon 80D camera. Having been a former owner of the Canon 70D i thought it would be useful to do a quick un-sighted review of the 80D and see if it addresses some of the issues that i sold my 70D for. My 70D was my first “Enthusiast” level EOS camera and overall i was pretty happy with it, however i believed like many the AF system was flawed. Personally i didn’t think the AF  system on the 70D had a fault per say but more suffered from over expectation from users with in many cases 3rd part lenses or with long wildlife lenses that fell into the f8 non-AF trap. Image quality on the 70D was only “OK”, when i sold mine, i got a 7DmkII which has a clear image quality improvement of 10-20%. With that in mind lets have a look at the 80D

Sensor comparison

The 80D has a 24.2MP APS-C CMOS sensor – this seems similar in spec to the sensor used in the 750d and 760D, although some sources mention a new “miniaturization” process so the actual design of the sensor could be slightly better. 24.2MP compares to the 20.2MP in both the 70D and 7DmkII adn interstingly if it is the sensor from the 750/760D then this is Canon’s best performing sensor outside of Canons FulL Frame range  according to DXOmark

Image Processor

The 80D appears to utilise the Digic6 processor found in both the Canon 5DS and 7DmkII cameras that i use. The 7dMkII uses Dual Digic6 processors to process the 10fps that it acheives, whilst the 5DS achieves 5fps using a single Digic6 processor but with file sizes twice the size. With the new 80D running at 7fps for shooting action and wildlife i would imagine buffer performance is still going to be similar to that of the 70D given the slight increase in file size. Shooting JPEG on the 70D i hardly ever ran into buffer issues, however if you are shooting RAW i seem to remember hitting the buffer on a couple of occasions and it appears whilst there is an improvement in jpeg, the 80D only offers an improvement of 10RAW files in burst mode before hitting the buffer.

70D burst shooting – 7fps 40 JPEG 15 RAW

80D burst shooting – 7fps 110 JPEG 25 RAW

7dMkii burst shooting – 10fps – 130 JPEG 31 RAW


Auto Focus

AF was indeed the biggest issue i hit when using the 70D. At the time i was using a Sigma 150-500 f5-6.3 lens and to be fair it was probably more lens than camera, however interestingly using a tele-convertor on the Sigma it was still possible to get AF above f8 (sometimes) as it was a 3rd party lens. When i swapped to the Canon 100-400 mk II lens image quality improved significantly but i was left unable to get beyond 400mm on the 70D as it wasn’t considered a pro body and Canon disabled AF at f8 – so using a TC (without some kind of trick) was impossible and slightly frustrating. On the new 80D this appears to have been resolved allowing 27 of the 45 focus points to work at f8 !!! this was probably one of the key reasons for me dumping the 70D in favour of the 7Dmk II.

Exploring AF further  the 70D had 19 cross point AF, this has been expanded on the 80D to 45 cross points, still short of the amazing 7dMkii with 65point AF, however the AF on the 80D appear to be significantly upgraded over the 70D


Metering and ISO sensitivity

The 80D has an ISO range of 100-16000 expandable up to 25600 and this is a slight improvement over 70D which was 12800 expandable to 25600 – Interestingly on DXOMARK the 70D scores higher than the sensor on the 750/760D for low light performance so it will be interesting to see if the pixel density increase on the 80D has slightly disadvantaged it.  Currently the 7DmkII scores the highest of Canon’s crop sensor range.

The metering system on the 80D appears to be a re-work and upgrade of 70D 63 zone metering system rather than deploying the 252 Zone system on the 7d MkII



If is was looking at buying a fast Crop sensor for Wildlife or sports again, i’d have to seriously look at the 80D, but some key issues may put me off. Firstly i suspect that being a lower level enthusiast body, the weather proofing may be less than the 7DmkII, and whilst the articulating screen is handy for some wildlife shots, in the field i’ve grown to appreciate the robustness that a fixed screen offers. The shutter life on the 80D could be another big factor, its only rated to 100,000 shots, i’d burned though 20,000 in a year with my 70D so when shutter life expectancy is half that of the 7DmkII it starts to become worth while considering a used 7d with low mileage. I’m also not convinced about the image quality improvement over the 70d and 7DmkII, whilst those 3 extra megapixels may assist slightly with cropping in post processing, the overall score on DXOMARK didn’t jump out at me and say its a dramatic improvement. As a photographer, i haven’t really talked much about video, whilst it was one of my original thought processes with the 70D purchase to shoot video, i never actually shot a frame. If i was going to seriously look at shooting video then the 80D may be an option. The 80D definitely represents an improvement over the 70D and as as a mid range APS-C DSLR for general use its improvements in AF will certainly make it fly but it feels more like the camera the 70D should have been rather than an industry leading mid range DSLR.

Canon 80D

Canon 80D


Specifications –



22.3mm x 14.9 mm CMOS

Effective Pixels

Approx. 24.20 megapixels

Total Pixels

Approx. 25.80 megapixel

Aspect Ratio


Low-Pass Filter

Built-in/Fixed with fluorine coating

Sensor Cleaning

EOS integrated cleaning system

Colour Filter Type

Primary Colour





Lens Mount


Focal Length

Equivalent to 1.6x the focal length of the lens



TTL-CT-SIR with a CMOS sensor

AF System/ Points

45 cross-type AF points
(45 f/5.6 cross-type AF points, 27 f/8 points [9 cross-type], centre point is f/2.8 and f/5.6 dual cross-type)¹

AF working range

EV -3 – 18 (at 23°C & ISO100)

AF Modes

AI Focus
One Shot
AI Servo

AF Point Selection

Automatic selection: 45 point AF
Manual selection: Single point AF
Manual selection: Zone AF
Manual selection: Large Zone AF
AF points can be selected separately for vertical and horizontal shooting

Selected AF point display

Indicated by a transmissive LCD in viewfinder and Quick Control screen

Predictive AF *

Yes, up to 8m

AF Lock

Locked when shutter button is pressed half way in One Shot AF mode or AF-ON button is pressed.

AF Assist Beam

Intermittent firing of built-in flash or emitted by optional dedicated Speedlite

Manual Focus

Selected on lens

AF Microadjustment

C.Fn II-16
+/- 20 steps (wide and tele setting for Zooms)
Adjust all lenses by same amount
Adjust up to 40 lenses individually
Adjustments remembered for lens by serial number


Metering modes

7560-pixel RGB+IR metering sensor
Metering with the area divided into 63 segments (9×7)
(1) Evaluative metering (linked to all AF points)
(2) Partial metering (approx. 6.0% of viewfinder)
(3) Spot metering (approx. 3.8% of viewfinder)
(4) Center-weighted average metering

Metering Range

EV 1-20 (at 23°C with 50mm f/1.4 lens ISO100)

AE Lock

Auto: In One-shot AF mode with evaluative metering exposure is locked when focus is achieved.
Manual: By AE lock button in creative zone modes.

Exposure Compensation

+/-5 EV in 1/3 or 1/2 stop increments (can be combined with AEB).


2, 3, 5 or 7 Shots +/-3 EV 1/3 or 1/2 stop increments

ISO Sensitivity **

Auto (100-16000), 100-16000 (in 1/3-stop or whole stop increments)
ISO can be expanded to H: 25600
During Movie shooting: Auto (100-12800), 100-12800 (in 1/3-stop or whole stop increments) ISO can be expanded to H: 25,600



Electronically-controlled focal-plane shutter


30-1/8000 sec (1/2 or 1/3 stop increments), Bulb (Total shutter speed range. Available range varies by shooting mode)



Auto white balance with the imaging sensor


AWB (Ambience priority, White priority), Daylight, Shade, Cloudy, Tungsten light, White
Fluorescent light, Flash, Custom, Colour Temperature Setting.
White balance compensation:
1. Blue/Amber +/-9
2. Magenta/ Green +/-9.

Custom White Balance

Yes, 1 setting can be registered

WB Bracketing

+/-3 levels in single level increments
3 bracketed images per shutter release.
Selectable Blue/Amber bias or Magenta/ Green bias.





Approx. 100%


Approx. 0.95x¹

Dioptre Correction

Approx. 22mm (from eyepiece lens centre)

Focusing Screen

Fixed (Transmissive LCD screen)


Quick-return half mirror (Transmission: reflection ratio of 40:60, no mirror cut-off with EF 600mm f/4 IS USM or shorter)

Viewfinder Information

AF information: AF points, focus confirmation, AF area selection mode
Exposure information: Shutter speed, aperture value, ISO speed (always displayed), AE lock, exposure level/compensation, spot metering circle, exposure warning, AEB.
Flash information: Flash ready, high-speed sync, FE lock, flash exposure compensation, red-eye reduction light.
Image information: Card information, maximum burst (2 digit display), Highlight tone priority (D+).
Composition information: Grid, Electronic level, Aspect Ratio
Other information: Battery check, Alert symbol, Flicker Detection

Depth of field preview

Yes, with Depth of Field preview button.

Eyepiece shutter

On strap



Touch screen Vari angle 7.7cm (3.0″) 3:2 Clear View II TFT, approx. 1040K dots


Approx. 100%

Viewing Angle (horizontally/vertically)

Approx 170°


Anti-reflection, Solid Structure and Anti smudge

Brightness Adjustment

Adjustable to one of seven levels

Display Options

(1) Quick Control Screen
(2) Camera settings
(3) Electronic Level


Built-in Flash GN (ISO 100, meters)


Built-in Flash Coverage

up to 17mm focal length (35mm equivalent: 27mm)

Built-in Flash recycle time

Approx. 3 seconds


Auto, Manual flash, Integrated Speedlite Transmitter

Red-Eye Reduction

Yes – with red-eye reduction lamp



Flash Exposure Compensation

+/- 3EV in 1/2 or 1/3 increments

Flash Exposure Bracketing

Yes, with compatible External Flash

Flash Exposure Lock


Second Curtain Synchronisation


HotShoe/ PC terminal

Yes/ No

External Flash Compatibility

E-TTL II with EX series Speedlites, wireless optical multi-flash support

External Flash Control

via camera menu screen



Scene Intelligent Auto (Stills and Movie), No Flash, Creative Auto, SCN(Portrait, Landscape, Close-up, Sports, Night Portrait, Handheld Night Scene, HDR Backlight Control, Food, Kids, Candlelight), Creative filters, Program AE, Shutter priority AE, Aperture priority AE, Manual (Stills and Movie), Bulb, Custom

Picture Styles

Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)

Colour Space

sRGB and Adobe RGB

Image Processing

Highlight Tone Priority
Auto Lighting Optimizer (4 settings)
Long exposure noise reduction
High ISO speed noise reduction (4 settings)
Multi Shot Noise Reduction
Auto Correction of Lens Peripheral illumination and Chromatic aberration correction
Creative filters (Grainy B/W, Soft focus, Fish-eye effect, Art bold effect, Water painting effect, Toy camera effect, Miniature effect)
RAW image processing – during image Playback only
Resize to M or S1, S2, S3

Drive modes

Single, Continuous L, Continuous H, Self timer (2s+remote, 10s +remote), Silent single shooting, Silent continous shooting

Continuous Shooting

Max. Approx. 7fps. (speed maintained for up to 110 images (JPEG)(1)(10)(with UHS-I card), 25 images (RAW)(with UHS-I card))¹²


Built-in, number of shots selectable from 1-99 or unlimited. Bulb timer possible



Electronic viewfinder with image sensor


Approx. 100% (horizontally and vertically)

Frame Rate

30 fps


Manual Focus (Magnify the image 5x or 10x at any point on screen)
Autofocus: Dual Pixel CMOS AF (Face detection and Tracking AF, FlexiZone-Multi, FlexiZone-Single), Tracking sensitivity (-3 to +3) and Movie Servo AF Speed (-7 to +2)


Real-time evaluative metering with image sensor.
Evaluative metering, partial metering, spot metering, center-weighted average metering.

Display Options

Grid overlay (x3), Histogram, Electronic level


Still Image Type

JPEG: Fine, Normal (Exif 2.30 [Exif Print] compliant) / Design rule for Camera File system (2.0),
RAW: RAW, M-RAW, S-RAW (14bit, Canon original RAW 2nd edition),
Digital Print Order Format [DPOF] Version 1.1 compliant

RAW+JPEG simultaneous recording

Yes, any combination of RAW + JPEG, M-RAW + JPEG, S-RAW + JPEG possible.

Image Size

JPEG 3:2: (L) 6000 x 4000, (M) 3984 x 2656, (S1) 2976 x 1984, (S2) 1920×1280, (S3) 720×480
JPEG 4:3: (L) 5328×4000, (M) 3552×2664, (S1) 2656×1992, (S2) 1696×1280, (S3) 640×480
JPEG 16:9: (L) 6000×3368, (M) 3984×2240, (S1) 2976×1680, (S2) 1920×1080, (S3) 720×408
JPEG 1:1: (L) 4000×4000, (M) 2656×2656, (S1) 1984×1984, (S2) 1280×1280, (S3) 480×480
RAW: (RAW) 6000×4000, (M-RAW) 4500×3000, (S-RAW) 3000×2000

Movie Type

MOV / MP4 (Video: H.264 Intra frame / inter frame, Sound: Linear PCM / AAC, recording level can be manually adjusted by user)

Movie Size

1920 x 1080 (59.94, 50 fps) inter-frame
1920 x 1080 (29.97, 25, 23.98 fps) intra or inter frame
1920 x 1080 (29.97, 25) lite inter-frame
1280 x 720 (59.94, 50 fps) inter-frame
1280 x 720 (29.97, 25) lite inter-frame

Movie Length

Max duration 29min 59sec, Max file size 4GB (If file size exceeds 4GB a new file will be created automatically)


New folders can be manually created and selected

File Numbering

(1) Consecutive numbering
(2) Auto reset
(3) Manual reset


Custom Functions

26 Custom Functions

Metadata Tag

User copyright information (can be set in camera)

LCD Panel / Illumination

Yes / Yes

Water/ Dust resistance


Sound Memo


Intelligent Orientation Sensor


Playback zoom

1.5x – 10x

Display Formats

(1) Single image with information (2 levels)
(2) Single image
(3) 4 image index
(4) 9 image index
(5) 36 image index
(6) 100 image index
(7) Jump Display
(8) Movie edit

Slide Show

Image selection: All images, by Date, Folder, Movies, Stills
Playback time: 1/2/3/5/10/20 seconds
Repeat: On/Off
Background music: On/Off
Transition effect: Off, Slide in 1, Slide in 2, Fade 1, Fade 2, Fade 3


Brightness: Yes
RGB: Yes

Highlight Alert


Image Erase/Protection

Erase: Single image, All images in folder, Checkmarked images, unprotected images
Protection: Erase protection of one image at a time

Menu Categories

(1) Shooting menu (x6)
(2) Playback menu (x3)
(3) Setup menu (x4)
(4) Custom Functions menu
(5) My Menu

Menu Languages

25 Languages
English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Czech, Hungarian, Romanian, Ukrainian, Turkish, Arabic, Thai, Simplified Chinese, Traditional Chinese, Korean and Japanese

Firmware Update

Update possible by the user.



Hi-Speed USB


Video output (PAL/ NTSC) (integrated with USB terminal), HDMI mini output (HDMI-CEC compatible), External microphone (3.5mm Stereo mini jack), Headphone socket (Stereo mini jack)


Canon Printers

Canon Compact Photo Printers and PIXMA Printers supporting PictBridge





SD, SDHC or SDXC (UHS-I)card


PC & Macintosh

Windows 10 / 8.1 / 8 / 7(*)
* With Microsoft .NET Framework 4.5 is installed.
Mac OS X 10.9, 10.10, 10.11


Image Processing

Digital Photo Professional 4.4.0 (RAW Image Processing)


EOS Utility
EOS Lens Registration Tool
EOS Web Service Registration Tool
EOS Sample Music
Picture Style Editor



Rechargeable Li-ion Battery LP-E6N (supplied), built in for date & settings

Battery life

Approx. 960 (at 23°C, AE 50%, FE 50%)¹
Approx. 860 (at 0°C, AE 50%, FE 50%)

Battery Indicator

6 levels + percentage

Power saving

Power turns off after 1, 2, 4, 8, 15 or 30mins.

Power Supply & Battery Chargers

AC Adapter AC-E6(N), DC coupler: DR-E6, Battery charger LC-E6, Car Battery charger CBC-E6


Body Materials

Polycarbonate resin with glass fiber

Operating Environment

0 – 40 °C, 85% or less humidity

Dimensions (WxHxD)

139.0 x 105.2 x 78.5mm

Weight (body only)

Approx. 730g (CIPA testing standard, including battery and memory card)



Eyecup Eb, E-series Dioptric Adjustment Lens, Eyepiece Extender EP-EX15II, Angle Finder C


Leather case Eh31-L

Wireless File Transmitter

Built in Wi-Fi transmission
Connectivity to Smart devices is possible with Android version 4.0-4.4/5.0-5.1 or iOS 7.1/8-8.3.
NFC connectivity is possible only with compatible Android devices.
Remote Wi-Fi zoom operation of EF-S 18-135mm f/3.5-5.6 IS USM via the optional Power Zoom Adapter PZ-E1 is only possible on EOS 80D using a compatible smart device (as above) or while using supplied EOS Utility software


All EF and EF-S lenses


Canon Speedlites (90EX, 220EX, 270EX, 270EX II, 320EX, 420EX, 430EX, 430EX II, 430EX III-RT, 550EX, 580EX, 580EX II, 600EX, 600EX-RT, Macro-Ring-Lite, MR-14EX, Macro Twin Lite MT-24EX, Speedlite Transmitter ST-E2, Speedlite Transmitter ST-E3-RT)

Battery Grip


Remote Controller/ Switch

Remote Switch RS-60E3, Remote Controller RC-6


Hand Strap E2, GP-E2


All data is based on Canon standard testing methods except where indicated.

Subject to change without notice.

*with EF300mm f/2.8L IS USM at 50kph

** Recommended Exposure Index


AF System/ Points – ¹ Number of cross-type points depends on the lens used

Eyepoint – ¹ with 50mm lens at infinity, -1m-1 dpt

Continuous Shooting – ¹ Based on Canon’s testing conditions, JPEG, ISO 100, Standard Picture Style. Varies depending on the subject, memory card brand and capacity, image recording quality, ISO speed, drive mode, Picture Style, Custom functions etc.
² Maximum fps and buffer capacity may be reduced depending on the cameras settings and light level

Battery life – ¹ Based on the CIPA Standard and using the batteries and memory card format supplied with the camera, except where indicated


Synology NAS

Synology Disk Station – NAS

Synology Disk Station an excellent NAS for Photographers

I happened upon the Synology Disk station when i had problems with a QNAP at work. It turned out that the issue i had with the QNAP was my own (wrong power cable) and its still a very good brand, however the Synology software allowed me to do one key thing – synchronize my files to the cloud. Whilst the QNAP appears to give access to “some” cloud support at the time of testing this wasn’t completely thought through for Instance acees to Amazon AWS worked but access to the Amazon Cloud – more commonly where photographers may store unlimited pictures and RAW files as part of their Prime membership is only in Beta – worse this only works on Amazon Prime.com accounts and not .uk. The QNAP also didnt appear to support file synchronization and it appears you needed a second device running sync software – which on the whole appears a little messy…

Enter Syntology! After a detailed look at the website the Synology (in my case a DS715) appears to have a very comprehensive range of software built in. Aside from being a network file storage device, it can act as a file server including secure file shares for different family members or work collegues, a Proxy server, Print server, VPN server , CCTV station and most importantly for my requirements it has a full range of cloud connectors, ranging from Microsoft, Google, Amazon AWS and most importantly Amazon Prime Cloud storage.

After setting up the various network shares, you can then use the “Cloud Sync” application to setup replication. Setup of this is pretty simple, the application takes you to an Amazon page to authorize access, you can then choose multi-way, download or upload replication directions.


Files put in the local share are automatically uploaded to Amazon – which makes for a pretty good solution – local copy on the disk station for fast access with a backup on Amazon that’s accessible from anywhere (I should also say that with a Synology account you can remote access all the features of the NAS too)

My solution consisted of a DS715 NAS which was approx £250 plus two Western Digital Red 6TB SATA disks – i opted not to RAID the disks, giving a storage capacity of close to 12Tb – but you can use RAID to give greater fault tolerance.


I was blown away by the Synology solution, the software whilst not as vast as QNAP’s does exactly what you could want to do, each of the solutions i’ve implemented has been excellent and well thought through – if you were looking for a NAS, Cloud sync or CCTV solution i would highly recommend looking at Synology