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Archived from the original on February 9, Retrieved May 1, Archived from the original on March 19, Retrieved February 23, Archived from the original on January 2, Retrieved March 18, La Red. Archived from the original on May 11, Business Wire. The Xiaomi 12 Pro is the company’s newest top-end phone, coming in April alongside a standard Xiaomi Xiaomi achieved greatness in For starters, it played musical chairs with Apple for the number two and three spots in the global smartphone shipments league, most recently ranking third in Q4 according to Counterpoint opens in new tab.

It also tread new turf with its tech – launching the first commercially available smartphone that charges at W, the Xiaomi 11T Pro , and a phone with an almost 1-inch camera sensor, the Mi 11 Ultra. Then there was Xiaomi’s budget offering under its Redmi and Poco brands. The Redmi Note 10 Pro was a value champion given its impressive camera specs and screen, and the Poco F3 packed class-leading performance despite a budget price.

Nevertheless, the main 50MP camera is excellent, and the system actually works great as a whole, with smart software to help it get reliably good results, and consistent color balance.

Powering up in just 18 minutes, the W charging is the fastest on any phone around right now. That the Xiaomi 12 Pro also has 50W wireless charging is just a sweetener to a very rounded smartphone spec mix. So while Xiaomi hasn’t made the best camera phone of , or the longest-lasting, by ticking every box most people likely care about and packaging great features up in a sleek, premium body, the Xiaomi 12 Pro is one of the best Android phones , and certainly one of the best Xiaomi phones.

It was fun, with confident but refined color options; most importantly, the phone looked good. Available in Blue, Gray, and Purple, none are eye-popping or bright, with each color being slightly muted. Whichever color you go for, the Xiaomi 12 Pro is a curved glass and metal phone.

Camera companies can’t just go and buy the same chips that smartphone vendors do and add Android software. That wouldn’t necessarily work for their type of gear, and that would also still require huge development costs. Even if you buy a chip from another vendor, you still need to engineer it to work with your product. Also, because they couldn’t buy those chips in the same quantities as the smartphone companies, they would pay far more per chip. And if they did manage to make this work, then what?

You’d still be left with the fact that most users prefer the ease of use and convenience of the smartphone rather than any dedicated camera. Users will never perceive any dedicated camera as easier to use or carry than their smartphones. There is no going back and reclaiming the camera market from smartphones. The most camera makers can do is compete for a higher end niche. Yet the vast majority of users opt for smartphones.

The fact is that the market has shifted dramatically towards smartphones. That isn’t coming back. What remains are professionals and generally higher end enthusiasts. That is the market for the camera manufacturers.

Dear TRU, Does not matter my flaws or cheap options on the market. At the end product is not good, and mostly people buy when need new equipment or rich enough people with photo hobby. Mass people are totally disconnected from this products and offerings.

Same for camcorders BTW! There are so many obstructions and nonsenses on this market and along the photographic workflow that it is unexplainable why this market is still alive. Same story if you look at inkjet printer market! Yet another area occupied by Japanese oligopoly! And please stay away from technical explanations and arguing.

You have no idea what you are talking about! For example a5xxx-a6xxx, and other models are really ARM and android based. And they had Android apps which was not bad. CPU power and efficiency with mobile chips is with orders of magnitude better compared to any ILC chip. So it is clear that it is not only possible but doable even right now!

JPM29 This is just one parameter of the market which just make things worse. But if your main customers can not afford your products this looks like disaster to me? As you can see cameras are cheaper today than at any other point in the history of digital photography.

The Mad Kiwi In absolute value you may be right! And in general mass of world population do not become rich! BUT 2 At same point expensive smartphones are selling like hot cakes on very short cycles – every year new model!!! And their prices also grow! So the problem is not they have models with higher prices. One of the problems with ILCs are tries to push everyone in format wagon.

I can buy cheap smartphone with latest tech, and also I can get latest tech for high price. Low range ILCs are still at level. So in general you have point, but when we look at specific it is not exactly the case.

For me the camera is a gold because it gives me the tilt-and-swivel screen, the battery, the twin card slots and the lifeline to carry on using all my legacy A mount glass via an affordable adapter. If you are buying a camera for ISO 50K you are definitely in a specialized use. The reason is simple, in good light conditions all cameras are good, and some of my contracts lead me to shoot in very dark conditions people moving quickly dansing or playing music.

The reason I took the left of the screen is that there is less light and faces because I don’t see the interest of shooting a newspaper but faces, mainly eyes with the shadows. Also I use inside body jpegs because I have to process and give the photos asap.

That said, with the R5 you have better tool than the A1 in low light. JPM29 I picked that sample because text offers good sharp small details to make the comparison more obvious. Feel free to move around toward the darker ares, still the R6 images is the least sharp of the three.

Don’t you think to be a bit condescending telling me “with the R5 you have better tool than the A1 in low light”. Wouldn’t you think I know better? Reilly Diefenbach. Yes, that where I can sometimes go now with the R6, here is a link with Armandino, you can take it as you want, it was not an attack. Anyway, you can see more details in A1 photos, I don’t see it, anyway the end result is crap and unexploitable.

And with less light in real conditions, it would be even worse, impossible to present that. JPM29 may I take you to a slightly better place? Same but RAW instead of silly mushy jpg?

JPM29 I’d say you are full of it: 1 The A1 clearly shows more fine details 2 Assuming you cannot see 1 how do you come to the ” end result is crap and unexploitable” 3 you conveniently avoided acknowledging that in e-shutter the R6 and R5 are true garbage well below where you are drawing the ISO line. I have both R5 and A1, I used them both extensively for low light sports and events, I mean around to K images with each, and you want to lecture me with what you do not even have experience in using.

I never had any problem with my e shutter and I use it most of the time. For the rest, if you think that you see more detail in a dark photo, fine for you Btw it is simply impossible lifting shadows on my R5 in e- shutter at high iso, background banding is unacceptable. Do you shoot Raw or JPG? JPM29 if you cannot see a difference in details in the links I sent you you are bluntly on denial or you need glasses.

Just look at the the text area on the tubes in the widget windows. Isn’t it about downsampling? So I suppose downsampling? Then again it’s friday. But everyone who says the A7iii is the greatest for astro gets bashed infinity because downsampling.

In the text at 12 the R6 and A7 are about equal, the A1 a bit above. In the colour tube : 1 R6, 2 A7, 3 A1 I never had to correct the shadows that much with my R6, if I had, I would use the mechanical shutter. Look at the first link how the lady’s eye is dark with the A1 and clear with the R6, and the difference would be wider in real life.

Becksvart, thanks, the eternal argument, “downsampling make the difference noise wise”, but I did not much in real life, and how to find details in the dark at high ISO? I guess there is a reason why astro photographers use the A7iii or R6 and not 50 MP cams. I prefer to use the good camera that the “we could”. The R6 gathers more light than the A7, A1, and R5. Someone above mentioned an R5, and what you are saying is probably true. The R6 though is different because it only has 20MP.

The way I like to explain it is the sensor but idk, I hate trying to explain something that I could be wrong about but whatever. So the reason the R6 can gather more light is because the pixel are is greater than the pixel area of those other cameras. But wait people say, they are all the same size, 35mm? The sensors are so good these days that they manufacture them with very little gap between them, better tolerance, and so now a days most people prefer to just get more pixels vs the better low light performance, which means a bunch of stuff, whatever is being talked about above.

As good as it has gotten these days to where down sampling gets you close, it is not the same, but could be argued its in the who cares category. So in closing, if I was going for Astro stuff specifically I would go R6, sports and lots of action all the time R6.

Do not need to crop much, the R6. I see it as better performance for your hardware, on the Canon side, the R6 has the same hardware as the R5, so you can imagine what a beast that camera is.

Salgado, the R5 has more pixels but is noisier. For what I do, I would not exchange my cam against the R5 or the A1. So it also has whatever benefit that brings. BTW I think went off on many tangents like I always do. I personally have nothing against the A7 or Sony, it is not for me but that is ok, and then I went on promoting the R6, but I felt like this was turning into a debate about which one was better so I made my argument.

Canon’s are a real treat to use. The HUGE downside is how pricey Canon is, it is completely out of control, but nothing we can do about that. I still buy it, I have the means and it is what I like, but it hurts me every time for sure. Try to be more realistic in you expectations of ANY camera in the future. I know you will not reply to my post, since your OP was ridiculous in the first place. Ah ah ah.

Where is your gallery and gear list? Do you even take pictures, or own a camera? Do you normally take pictures at , if yes, why would you do that?! I realize you will not answer either of those questions, but I figured I ask anyway, just to make you look like the fool or troll you are. I had a gallery on Smugmug before but I do it differently now using WeTransfer. And I let you with your insults,. I know you can’t or won’t answer that question, but I tought I’d ask any way, just to see if you would try.

If not, crawl back under your rock, or dark basement trolling against all Sony cameras. BUT, if you are coming here relatively often you should be educated at good base level! For now you demonstrate missing basic sensor knowledge and in addition you are doing very cherry picking comparisons! So let me educate you a bit Ok you see many people talking total nonsense as “R6 gather more light” really?

Ok where is the right eye of the woman in question? JPM29 Where is the color from this samples? As you can se you should buy A7S3 or Panny S But no need to try to draw conclusion for sensor performance from your very specific use case.

And clear liking for R6 jpeg engine. Same for A7S3. Which is the reason for more shot noise in the image. Most probably this comes from the lens, or could be because on-site conditions. This is why this “comparison tool” can not be really used for very “scientific” tests. But it is enough to get some idea how sensor performs, totally useless for fueling forum wars, and endless comments If you pick crappiest sensor on the market – Canon RP – you will see not really worse performance.

Just difference in jpeg engine. So your effort to show the R6 sensor supremacy fall in the dust of your cherry picking on dpr comparison tool. From that comparison, the A1 is superior to both the A7iv and the R6.

The real point here is that it really does not matter, at this exposure levels you have tons of shot noise. You can see the old RP sensor is pretty much very close Many people talk like sensor gather the light And at this point there is almost no light No other way around. Could be much better to shoot video and grab stills from it where frames are freeze enough. And do not need to make dark and dim place to look like at bright day light I never said the R6 was capturing more light.

Now, I took your exemple at that I never use and put it at I told you this is cherry picking and has no real value. You need to learn what is shot noise. You can not use this images like this. Also many people told you already using ISO 50 – is nonsense.

Your sensor has stop DR! And as I told you even RP will be good enough for this job. Differences in this range are negligible at best. So for you R6 is total winner, in reality this is nonsense.

In the first exemple you linked the cameras are about the same because in the well lighted area of the photo.

With my 6D I was going up to , now i can go up to with the same quality, is not portrait photography it’s dance scene or street photography by night. If some don’t believe, no problem. JPM29, you have posted 25! Why are you so passionate about this, and what do you think you need to prove? Get a life! JPM29 You see R6 always much better when if there is any difference it negligible.

So this is what is called happy customer :. When conditions are not so difficult I use the 85mm 1. Then priority Aperture at 1. Sometimes I put the Iso on automatic, sometimes I can use the manual mode to control the opening and the speed, but rarely as I generally have to be at 1. I try to limit myself to or photos in the evening to limit post processing.

So I have to go at very high iso even if the photo is not technically perfect. These are some example of setting, it varies with each place, lighting, and dancers. Ohh man, we talk about real darkness here. BTW of course you can control the speed. Most probably camera is trying to make absolute darkness looking as late afternoon. I would set manual all and paly only with ISO and aperture. As not trying to make darkness look bright and you should be at max even lower.

I see same effect when shoot video at events and lights come down for some transitions. Which is nonsense I do not need to make total dark scene looking like day time. It should stay dark at this point. Thank you for your point of view. As you say the problem is the that light change all the time, the light temperature changes too, the dancers have different clothes, some reflecting the light, some notl, some faces are tanned, some very white, if you focus on the face it is different than a wider view if they wear dark clothes.

And they move quickly, not easy. Everybody can have his own technique, I prefer controlling the aperture than the speed because the camera may set it to 2 while I want 1.

I do not use manual for dancers because the light changes too quickly. I do use it for singer where and when the light is more controlled. I want to focus on the subjet, the light on the face, the right time to push on the button.

I never use flash, it destroys the ambiance and I am just against it. Yes, baclight is very insteresting, we have to find the source of light, position ourself and wait a couple of dancers are well place to shoot. Exactly because light changes all the time you do not like to adapt all the time! You like to have static all settings, as much as you can. WB for sure need to be static, and you can not leave camera to decide on white vs dark dress and etc. If you like to have natural ambiance and atmosphere you should not use camera as night vision :.

If atmosphere is dark frame should stay dark. Then later you can put some accent here and there half or full stop. With this cameras with boosting ISO you just loose DR and chance to get some highlights here and there. Does not matter brand or model. So better stay at or and save DR for some highlights if needed.

Later in post you can light up the scene if needed. Just my 5 cents. I adapt the WB to the lighting, withe lighting and I play on the temperature, different colours and the automatic WB is generally pretty good on the R6. The most difficult is red lights. I want to keep the ambiance and the atmosphere as much as possible and I can play with the exposure for that. I could not do with the Rebel what I could do with the 5D, which could not do what the 6D could do and the R6 is amazing.

What I hate is to be asked by the organizer to make a group photo without being prepared, you have to close the apeerture therefore increase the ISO and I go up to I don’t play with the highlights after, photos are good or not, that is the first sorting.

All the game in fact is to correct, and over or underexpose the subject depending on the light on him or behind, and that is all of training. Have a good photoshoot :. Guess I stay with my MK1 for now lol. IQ is similar when postprocessing raws and who knows, even the eye AF might be more accurate on the mark 1 :-D. Some recent images from mk 1. For myself, the A7 original from time to time is also ok. Bad thing only, no bit lossless compressed RAW, mediocre battery life albeit better in airplane mode and no IBIS, and no real weather sealing, and of course the somewhat idiocratic menu system, but IQ is still nice.

Just added back a few years the EP-FDA18 eyecup, because being much softer, and out of curiosity a metal mount 3rd party solution, although i never had any kind of issue, with my mounted F4 or F4 Lenses It’s the person behind the lens, not the gear, as with every camera.

I’ve seen great shots with the A7 on the web. I modded my mk1 too, I am on my second one now, like with first one, second got the “tougher light tight mount”too, and then added my favourite arca swiss compatible L bracket, improves handling too. Added circular viewfinder eye relief, works best for me, even better than the soft one you describe which is already very good upgrade over the original one.

Also bought continuous power because little people know that MK1 has really lovely clean FullHD hdmi output which can run for hours without overheating issues, especially when recording to external device like your laptop or pc via cheap HDMI to USB3.

I get nice p. No hunting no flutter. Nice mod, vit. The eyecup looks cool, but would make the package something too big for me, although i always prefer rounded eyecups, since we don’t have square eyes. Yes, Sensor reflections can cause subtle issues, but to be honest, i never shot my A7 at nighttime, or when it’s dark outside, but my Fujis, or Nikon. Great camera. I used it now for over 2 months. Set it up with a camset from Mark Galer with my own tweaks. With one click I can go from landscape settings to action or video.

If you believe all the Canikon fanboys on these comments and there are a lot this would be a bad camera. Certainly not all the jokers that are bashing Sony whenever or wherever they can. And why it is not PRO camera? Man PRO camera is the camera from which you can make money, not the camera that could track fly eyes and shoot with 30 fps. And you can use your camera for many different things aside sports shooting.

On the points related to fanboys I agree. Yesterday, at snow, we did a “fail contest” of sledge with family. Happy I had the 20fps. And the same when birds take off. You can live without, but it is nice to have in certain situations ;. I’m not a Sony user, but you have to credit them for driving the entire full frame mirrorless market. I’m a Nikon guy but I give Sony a ton of credit for pressuring the move to mirrorless.

One of the best things about new Sony releases is all the new users you meet who rush to join the forums! More technically speaking video market drove the MILC market. As video cameras are mirrorless since the start :D. Actually Panasonic was the first to the market with a mirrorless interchangeable lens camera.

Sony was way behind, floundering in the DSLR market, and made the only move they could. Canon and Nikon were slow to decide on mirrorless, that’s why Sony was so successful.

That’s some aggressive re-writing of history. Hardly floundering. If it was so obvious to create a FF mirrorless camera – then why didn’t Canon do it – they were the market leader?

Why didn’t they invent eye-AF – if it was so obvious? Why didn’t they hoover up all those sales? The reality is Canikon totally got the rug pulled from under them. And they’re still on the back foot. It took Canon four years to make an A9 competitor and in the mean time the A1 came out. They don’t currently even have a BSI high res sensor, let alone a stacked one.

Nikon buys Sony sensors – without that option they wouldn’t even be in the game. They still couldn’t get 30fps out of the Z9 chip and the DR is behind the A1.

I find that extremely hard to believe. Do you have a source? Canon and Nikon were making money hand over fist with the DSLR boom – that’s pretty hard to just walk away from. Sure it can be argued they should have gotten into FF earlier, but its not like they didn’t make an attempt in mirrorless – EOS M has sold very well overall, and Nikon tried with the admittedly ill advised Nikon 1 system. The point I wanted to make is that Sony wasn’t ‘floundering’.

Being third wasn’t what they wanted but it was respectable considering how new they were to the market. Sony has created the paradigm of the modern camera.

It wasn’t because they’re such a great, innovative company – it was mostly a happy accident – they needed an all-electronic mount A-mount has a mechanical aperture linkage and users kept pushing them to put a FF sensor in a NEX body. That’s more or less how it came about. I wouldn’t mind people saying that, I just take exception to this ‘Sony didn’t do anything’ or ‘what they did was obvious’ schtick that gets recycled endlessly.

Sony ended up forcing Canon and Nikon to change their mounts. You could make an argument that Nikon needed to do it anyway, but not Canon.

 
 

 

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