The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honours the servant and has forgotten the gift. Albert Einstein
Category Archives: Camera Equipment
Breaking Camera News, Equipment Reviews and camera accessories.
If you were an early subscriber to the 50R and a prime lens enthusiast, you had a limited selection of lenses. Consequently, your kit might look like the following.
The following train, though, might have resulted in this kit. Given your experience with the full-frame equivalent lenses, you may have avoided the 18mm. You likely would have acquired the 63mm as it was the only choice in this range; needing a good portrait lens, you would have compared the 110mm and the 120mm. Given that the 120 f4 is a macro and the 110mm f2 is a faster, more compact, and not a specialty lens, likely you would have selected the 110mm lens. Finally, at the time, there was a very cheap offer for the 50mm it was a very affordable way to acquire a pancake lens for street photography.
Now that the Lens Road Map has Changed
If you recently acquired a GFX 100 to replace your 50R, you might now be interested in the more extensive GF lens offering. Compared to what was available when the GFX series launched, now there are more ways to construct a prime lens kit.
Looking at the lens road map, the two lenses that might give you pause are the 55mm f1.7 and the 80mm f1.7. The question that comes to mind is whether reconfiguring the kit would be helpful. One way to answer that question might be to consider how you would create a kit if you had just bought your first GFX camera.
GF lens Compared to 35mm
GF lenses can be converted to 35 mm equivalencies by using the multiplier .79. In the case of the GF 63mm in the image below, by using the multiplier, you can see that it has the same field of view as a 50mm lens on a full-frame camera. Its light-gathering capacity, f2.8, gathers the same amount of light as an f2.2 lens on a full-frame camera. T
Click this image to enlarge
How Would a New Purchaser Construct a Kit
Here is how I would approach it: First, I would consider acquiring a lens in the 50mm equivalent range. There would be three choices: 63mm, 55mm, and 80mm. The 55 and 80 mm lenses let in twice the light compared to the 63mm. That would have narrowed the choice to either the 55 or 80. Given the increased interest in the 40mm equivalent lens, with claims that it is more versatile, I would have considered the 55mm lens first. I would then focus on the 80mm as the slight compress might also be helpful. This would then raise the question of a wide angle. If I were to consider the 45mm, it would concern me that it is too close to the field of view I would get from the 55mm lens. I would have settled on the 60mm as my first choice and the 45mm as my second choice.
Given some experience with the 23mm handle distortion, perhaps better than some full-frame lenses, I would have considered this lens instead of the 30mm 24mm equivalent. Then, I added the 110mm as the portrait lens, giving me the kit shown in the following chart.
At this point, I would look at the spread between the fields of view to see if it would create a problem. There is a 22mm shift between the two wide angles, but 35mm between 45mm and 80mm and 30mm between 80mm and 110mm. Here, the spread does look quite good. Given some compression with the 80mm lens, the next question I might ask is if I need the 110mm lens. So, if this were my initial lens purchase, I would not have purchased the 110 immediately and left that decision for later. In this case, my initial kit would look like the following:
A final thought would be the cash outlay, and if that was a consideration, I might start with two lenses. My preference would be just the 45mm and 80mm lenses.
Would you Change Your Older Kit?
If you constructed your prime kit early on, similar to the first image, would you consider any new lenses? Given that the 80 mm lens’s field of view is so close to that of the 63mm lens, it would be hard to justify that purchase. The spread between the field of view of the 30 and 45 would present a similar problem. So, a decision might be made on different grounds, perhaps a faster aperture or a preference for a specific field of view. In my case, I think the 80mm might be my first consideration, as it is a faster lens with some compression and easier to carry than the 110mm. I love the field of view the 45mm lens provides, and it is very close in size to the compact 63mm lens, so the decision would be difficult to make, but having the 50mm pancake lens in some ways is a better street lens size wise than the 45mm lens. Given that I already have the 30mm lens, I would not consider the slower, larger 23mm lens.
Lens Quality
At this point, a deeper dive needs to be done into the quality of all the lenses, how they resolve the GFX100 sensor, how well they are constructed, the focusing engines, etc. So, I will leave this for another post.
Several of these devices are on the market, but the Leica device does not clip to the phone. Instead, it uses a MagSafe connection. Using Bluetooth, it connects to the phone’s camera. It features a two-stage shutter like most cameras, and there is also a button to switch between shooting modes and two additional customizable buttons to allow you to adjust settings. The customizable buttons can be set to control zoom, aperture, shutter speed, and exposure compensation.
There are a lot of filter systems, and among the more experienced photographers, you will hear them talk about brands like Urth, NiSi, and K&F. Kase, which has become quite popular because of their magnetic system. Rather than having an awkward attachment or having to be constantly screwing filters on or together, their system has on simple magnetic screw mount, onto which you can magnetically attach one or many filters. This simplicity has attracted several professional photographers to their system.
A sensor has a certain number of light gathering pixels, and typically the higher the number of pixels, the higher the image’s resolution. This absolute resolution is directly related to much white light or luminance is reaching it.
Colour in an image is created through a demosaicing process that interprets the light reaching the sensor through a colour array placed between the light source and the sensor.
The colour array has a pattern of coloured pixel-sized pieces of glass that allow only one colour to reach each individual pixel on the sensor sensor, usually they are either red, blue or green. A demosaicing algorithm, know as colour reconstruction estimates what the original colours were and then blends this information together to create a colour image.
Bayer Filter Array
Bayer filter arrays are found in most cameras, Fujifilm X cameras being one of the few exceptions. A bayer filter has a two by two array with one red, one blue and two green filters. One of the problems with a bayer filter is the demosaicing algorithm working with this very repetitive pattern can result in the risk of moire. You can see moire in the image below. To prevent this, camera manufacturers would reduce the actual resolution of the image using an anti-aliasing filter. As sensor resolution increased camera manufactures began removing the anti-alias filters in favour of better resolution, however this remove the problem. When moire does occur post processing is one method of removing it, in otherwords the defocusing or slight blurring is done in post processing.
X-Tran Filter Array
An X-tran filter array placed over the sensor has a six by six pattern instead of the two by two pattern of the Bayer filter. So it will have a more complex demosaicing algorithm than the Bayer array. The resolution from cameras will be the same as a similar sensor that does not use an anti-alias filter, however the colour resolution will be less. Colour simplification is not necessarily a negative thing as it is often used used in post processing to enhance an image. As the resolution is not impacted it becomes a matter of personal taste. All cameras use a different processing engine which will result in a different look to its JPGs or RAW files, and in some instances this influences photographers camera choices.
RGBW Filter Array
A RGBW filter array uses a six by six array like the X-Tran array but rather additional green filters it uses white. In otherwords there is no filter the open pixel allows more light to pass through the array onto the sensor. The colours for the white filter are estimated by looking at the surrounding coloured filters. The net result is superior performance in low-light situations. This can be done in a number of ways as illustrated in the image below.
Should I Use My iPhone and Add a Miniature Microphone?
The iPhone has an excellent video system, which I have been using exclusively, having avoided my cameras because of the size of the files it might produce. However, the sound quality is an issue; solving this would mean using a mic system after looking at the Hollyland, Rode, and DJi miniature mics and comparing both the sound quality and simplicity of the kits. It would appear that the DJI system is likely the best solution.
The DJI system is wholly contained within the charging case; some accessories items do not fit with the container provided. The DJI sound quality seems better balanced than the Rode system, emphasizing the lower tones, and the Hollywood mics seem to have too much treble. (DJI Mic Mini vs Rode Wireless Micro vs Hollyland Lark M2: COMPLETE Mini Mic Showdown)
There is an added benefit to the DJI system as it is entirely compatible with the Pocket 3 system should I decide to abandon using the iPhone for video purposes. Remember that the Pocket Three professional kit, which comes with a microphone kit, does not give a discount for buying the kit. The microphone system would cost the same whether or not you acquire it with the kit or separately. This means I can buy the microphone kit individually and see if the iPhone is all I need, and later, if I change my mind and purchase the Pocket Three, the cost will be the same.
There will be savings if you consider the smaller DJI microphone system. However, it is a little more limited than the one that comes with the kit, as it does not independently store your recording on the microphone, nor does it have an external microphone port; it does have a more extended range, is much smaller and has a smaller transmitter. It is also more straightforward to synchronize with a camera or phone.
The Case for the Pocket 3
If I found the iPhone was inadequate, I could easily upgrade to the Pocket 3 video camera, a very lightweight portable system and use the same microphones. The Pocket 3’s main advantage is that it uses a one-inch sensor, so when compared to other similar small devices or an iPhone, the image quality is likely to be better, as most other devices, including the iPhone, have smaller sensors. However, compared to a camera, the quality will not be as good as most cameras have 4/3, APSC, FF or MF sensors. Cameras will perform better in low light and deal with dynamic range more effectively. Reviewers suggest at 800 ISO, the Pocket 3 will have very unpleasant noises, which is not the case with late-model cameras. Even so, when compared to capturing video on an iPhone, some have found it hard to distinguish the difference in quality. The first big difference between the Pocket 3 and an iPhone will be the gimbal, which provides much smoother video than an iPhone unless the iPhone is mounted on a gimbal. The second big difference the camera can be set to automatically track the subject.
DJI produces an app for the iPhone that allows you to view the Pocket 3 as it is recording. It can also download the videos, edit them on the phone, and share them. It also connects directly, allowing you to control the gimbal movements and view on a larger screen that provides a histogram and other information. The editor has a suite of tools with templates, filters, music and watermarks.
Black Magic App
The Blackmagic Camera app can connect the DJI microphones to iPhones and Google phones without a transmitter. This makes it possible if one does not want to buy DJI’s microphone kit to purchase one microphone independently and allow it to record directly to a smartphone. The app itself provides you with a more professional interface where you can adjust frame rate, shutter angle, white balance, and ISO. It also provides the ability to connect directly to DaVinci Resolve.
The last 27-inch iMac was engineered on an intel chip in 2020, almost immediately after the M1 chip was introduced. The M1 chip meant even a base model iMac was faster than a tricked-out Intel Mac. There was also a new operating system that advanced each year, and with each iteration, my intel machine seemed to slow down. This is possibly due to the advancing operating system in Adobe, Capture One, and DXO software or the increase in the megapixels of cameras. The machine often ceases up with the spinning “wheel of death.” So what are the possibilities given October’s release of new M4 Macs? I)
Minimum Computer Specifications for a Photographer
So, looking for an upgrade presents a problem as Apple has discontinued the 27-inch Mac in favour of an external monitor. This, in most cases, means looking toward either a laptop or the Mac mini. The Bytom article referenced below seems to imply that most M1 machines, provided they have more than 512GB in the hard drive and at least 24GB of unified memory, will run the most up-to-date photography software. He suggests that if you are going to leave many things open and running, the best thing to invest in is unified memory, followed by SSD memory, core upgrading then being a last consideration. He suggests that the number of cores is a future-proofing consideration. The article is quite detailed, so I will leave the reader to browse it for more details.
This led me to believe that my ideal specifications would be a 1TB drive with 32GB of unified memory. This would mean less worry and some future-proofing. However, having only 1TB of storage on internal storage would, for me, require an external SSD drive to contain my Lightroom or Capture one Library. If this SSD was a 2 TB drive, it would allow me to include the library and one year’s worth of photographs; photographs older than that could be stored in other ways.
External SSD Storage
There are two primary issues with SSD drives: speed and durability. The latter issue is more critical if you are actively reading and writing files rather than using them as archives. Adam’s video suggests that there are three types on the market: USB 3.2, which has speeds up to 1000mbs; USB “two by two” drives, which have higher speeds but perform more like USB 3.2 drives in terms of speed with Macs; Thunderbolt 4 SSD, which has a speed of 2500 -3000Mbps; and Thunderbolt 5 SSD that runs at 6000Mpbs. So, he immediately dismissed the second option for obvious reasons. So, the two real options are USB 3.2 or Thunderbolt. However, the durability of the USB 3.2 drives is much lower, and they are designed for storage, not constant use. This would leave me looking at Thunderbolt 4 or 5 drives.
If you look at what Apple recommends for this sort of device, they sell a SanDisk Professional Pro-G40 SSD 2TB drive for $450. This is the same drive Adam recommended. Since adding 2TB to a Mac is $750, this option is much cheaper and perhaps more flexible. SanDisk also makes a blade system called Pro-Blade Transport, a modular enclosure where the SSD blade can be removed and replaced, allowing you to upgrade or replace it more cheaply. This runs at a speed of 2000Mbps. It is USB C, but I am unclear if it is running Thunderbolt 4 or 5. Another option might be the SanDisk Extreme Pro SSD, which I am settling on.
San Disk ProSan Disk Blade Enclosure
MacBook Pro versus Mac mini with Apples Studio Display
The next issue, of course, is what screen to use with either a MacBook Pro or Mac mini. The chart below explores various options that utilize the Apple display paired with multiple versions of Macs driving the display. This was to give a brief idea of the cost of multiple options. It was clear that the most economical approach would be the Mac mini; unless one needed a field machine, the MacBook Pro would be more economical. One could stop here, but it made me wonder what other monitors might be out there that might have similar or better specifications.
Monitor 27 inch Monitor Options
The Mac monitor has a superior build and the best audio of the available photography monitors when I looked at them initially. The screen is solid and very well build and reviewers seem impressed with the internal sound system. There are some short comings pointed out by those same reviewers, the camera is average, there are only four USBc ports, unlike either the MacBook Pro or Mac mini and for some strange reason the power core does not come away from the back of the machine, although some reviews have manage to remove it. The biggest issue for me is the size of the monitor, it would be nice to get some more screen realestate, and to do that in Apple’s world that would mean the 6k Apple Pro Display, which is well over $6000 as you see in the chart. So my first look look at monitors was to look at 27 inch alternatives. The chart below does not contain all the options for a colour-accurate high-resolution screen, but the ones I have listed appear compatible with Apple’s ecosystem. The LG listed below is the same one that Apple relied on for three years before bringin out the Apple Studio Display. Oddly enough it is was more expensive that the base Apple Studio Display. LG, sold by Apple for three years, is now more expensive than the Apple Studio Display. Currently, of the 27 inch monitors, the Samsung monitor appears to be the budget option. Given the marginal difference in price I am not convinced the savings is worth stepping out of the Apple eco system.
Options Greater than 27 inch Monitors
During the exploration of 27 inch monitors I did run across a 32 inch Dell Ultra Sharp monitor for have the price of the the Apple Pro Display, and since then have been looking at Dell offerings. In their section of 30 inch or greater monitors, they appear to have a number of monitors that not only meet Apple’s specifications but in some ways provide more features that the Apple monitors. They list a number monitors which are designed to be Mac compatiable.
The first one of interest was the 5k Dell UltraSharp 40 inch Curved Thunderbolt Hub Monitor U4025QW. Its regular price is $2629CA and goes on sale for $2309.99CA. This 5k monitor has better adjustablity as it not only tilts, has a height adjustment but also a swivel function. It also has what Dell calls a built in Hub with more options for connectivity than one might ever need. It also has the dedication USBc port so you can connect just one wire from your Mac to the the hub and all the other wires would be managed by the monitor. It is a P3 colour accurate monitor with IPS black technology. It does lack a camera and it has a built in speaking but it does not appear to be much of a sound system.
The next monitor of interest is the ‘Dell UltraSharp 32 inch 6k monitor U3224KB. This monitor sells for $2500CA which is equivalent in price to the top version of Apple Studio Display. In otherwords you would get a monitor equivalent to the very expensive Apple Pro Display for the price of the Apple Studio Display. So this one real got me interest as it comes with a better 4k adjustable camera and a sound bar speaker system attached to the top of the screen. It also has the hub system, and a drop down port at the front with two USBc ports and a USBa port. It usually sells for $3320CA but seems to be discounted rather than being on sale. At this price for a 6k monitor fullly loaded with features it seems to be the best buy on the market if you are looking for a large screen with excellent resolutions.
The last two options are attractive as they would undoubtedly mean more screen real estate, but the Apple Pro Display is an expensive option, at three times the cost. The Dell machine provides a cheaper alternative, but there may be integration issues with the Apple ecosystem.
Colour Space in Monitors, Why P3 standard
Colour gamut or colour space is essential for viewing and printing digital images. If you look at the two charts below, you will notice that the screen’s colour gamut, which on the monitors above is P3, differs from the print gamut. The two printers in the second illustration are high-quality art printers. If you own an Epson printer, it covers a similar colour space as sRGB, but not all the colours you will see if your monitor is set to P3 or Adobe RGB, the settings the monitors above use.
The difference between the two printers’ colour spaces is that the Canon can handle warm tones more effectively, and the Epson printer can handle the blues and greens. Perhaps this is not the difference between Fujifilm film and Kodak Film.
The release of the new X2D 100C Earth Explorer Limited Edition and the Leica Q3 has been big news in the high-end camera market. How do these two cameras line up with the other flagship compact camera? In this category, I believe Sony produces the smallest full-frame sensor camera, and Fujifilm produces the most compact APSC cameras. In the medium format, both Fujifilm and Hasselblad seem to have the most compact cameras.
The chart below, courtesy of Rob Will, shows the range from APSC to Medium Format. The two most compact cameras are the X100VI, an APSC camera, and the Sony RXrII full-frame camera, both fixed-lens cameras. The former has Fujifilm’s most advanced 42mp APSC sensor and processor, and the latter is a full-frame Sony camera released in 2015. Both are excellent street cameras that produce high-quality images in a discreet and pocketable size. I would worry about investing in the Sony camera, given its age and the possibility of a new version. Also, given the size of the A7Cr and Sony’s latest compact lens series, this might be a better option and almost as discreet.
The most appealing camera in this lineup is the Leica Q3 43, a fixed-lens camera with a 43mm f2 lens and macro. This focal length has been growing in popularity among many photographs. The lens is an apochromatic design, giving the camera’s Image Quality a bit of a boost over cameras using achromatic lens designs. Its compact design and the simplicity of its menu system are getting good reviews.
The full frame compact camera market is really donminate by Sony, which also as a sensor manufacture have the most advanced sensors on the market. Here the choose would be the A7RV, a 61mp interchangable lens camera. This camera coupled with the three new compact 24, 40 and 50mm prime lens creates the smallest possible full frame kit. This would be my choice for the most compact, highest quality full frame interchangable lens camera.
In the medium format range it would be difficult to decided between the Hasselblad X2D 100C and the new GFX 100s II, in general the Hasselblad is more compact and has a cleaner design. This camera coupled with the new line of compact XCD V lenses, would make this camera an excellent choice over the Fujifilm camera. However, the Fujifilm camera has more options for adapting third party lense, and is perhaps a more rugged build should you be a landscape photographer.
Fujifilm’s most celebrated camera was upgraded on February 19th, 2024, called the X100 VI. It has a new 40mp sensor with built-in 6-stop IBIS (In Body Image Stabilization). This unique range finder camera with a hybrid optical/digital EVF, a large APS-C sensor and a leaf shutter is small and perfect for an avid street photographer with its F2 lens. Just after the release of this camera, sales appeared to be well above expectations. Some camera stores suggest it may have broken all sales records.
The X100 series is also unique in other ways, with its range finder retro design. In the street, it looks like an old-fashioned film camera with its ISO, Speed dials and aperture on the lens. It is not the kind of camera people get worried about, and its size is easy to carry and conceal.
The new camera has the same form and size as the previous X100v model, but the dimensions have shifted slightly to accommodate the IBIS system. As you may know, IBIS requires a greater battery demand, but the camera’s new processor ensures the battery life is the same as the previous model. The camera also has the fifth generation “X-Tran Processor-5” and an upgraded AI focusing system. The hybrid viewfinder allows you to switch between Electronic View Finder, Optical Viewfinder or Electronic Range Finder.
Three models are available: a black and silver version or a commemorative limited edition version in silver.
The Limited edition includes a special box with a unique strap, soft release button and history cards. The body is engraved with the original 1934 corporate logo and a unique serial number.
GPS information can be placed into EXIF data using their iPhone app.
6-Stop In-Body Image Stabilization
425-Point Intelligent Hybrid AF System
Hybrid 0.66x OVF with 3.69m-Dot OLED EVF
3.0″ 1.62m-Dot Tilting Touchscreen
Bluetooth and Wi-Fi Connectivity
20 Film Simulation Modes with their new REALA ACE film simulation
About its Sensor
Like all X-Tran cameras, it does not have a Bayer filter. Unlike a Bayer filter, the X-Trans array sensors have a unique six-by-six pattern of photosites. This layout can minimize moiré effects and, in turn, increase resolution over cameras that use a low-pass filter to reduce moiré.
Bayer sensors can produce false colour as they do not have R and B photosites in some horizontal and vertical lines; the X-tran sensors, on the other hand, have an improved colour reproduction due to all horizontal and vertical lines containing at least one R, G and B pixel.
In addition, the X100IV, like all X series cameras, allows you to save customized film simulations. One can save up to seven that can be recalled quickly from the “Q” menu. An excellent resource for creating film simulations can be found on the Fuji X Weekly website. He has formulas for a wide variety of film stock recreations.
Fujifilm Accessories
There are two conversation lens that can be used with this fixed lens camera a 50mm and 28mm equivalent.
The TCL-X100 II on the left is a tele-conversion lens for narrowing the field of view to 50mm (35mm equivalent). It focuses as closely as 14 inches, and the camera immediately recognizes it when attached.
Match Technical EP-2V Thumbs Up Grip (Black) slides into the camera’s hot shoe and provides a 22° bevelled grip in the ideal place for resting your thumb. This setup provides you with a more secure grip on your camera.
Our UV Filter Plus+ cuts ultraviolet light, sharpens your photos, and protects your lens against scratches, water, dirt, and fingerprints. Our CPL Polarizing Filter Plus+ cuts reflected (polarized) light, increasing contrast and boosting colour saturation and vibrancy.
NiSi Filter System for Fujifilm X100 The kit features four filters: the NiSi Medium GND8 (0.9) 3 Stop Graduated Filter and a NiSi HD Polarizer. The filters are made from optical-quality glass and offer superb image quality.
H&Y Filters Magnetic Filter Kit The Magnetic Filter Kit is made up of: UV, Circular Polarizer, and Neutral Density. It has a magnetic adapter ring, lens cap, and filter wallet. The glass has Nano-coating finish, combining the glare-resistant capability of multi-coating with protective resistance coating to protect against dust, grime, oil, and water.
Fujifilm lenses, both for the X and G series, are stunning and often the best possible option for their cameras. However, with the imperfections they bring, third-party lenses can create some interesting effects. So, for those of you who like to experiment with Lensbaby lenses, heritage lenses, etc., some of the following lenses may provide some options for creativity. This is just a sampling of lenses. The X-series options focused on higher f-stop versions; of particular interest was the TTArtisan 35mm f.095. The selection of G mounts sampled the telephoto range, which had a smaller form than those manufactured by Fujifilm.
X-Mount Lenses
Voigtlander Ultron 27mm f2.0 manual $800CDN
9.3″ Minimum Focus Distance, 40mm equivalent, 10 blade aperture, with 43mm front filter thread.
The new DJI Osmo Pocket 3 camera is built on a one-inch sensor; this is a significant upgrade and places this device with an IQ (image quality) significantly better than action cameras like the GoPro, designed to be used in extreme outdoor conditions. The design around the Pocket 3 is more appropriate for podcasting or filming in less harsh situations than those for the GoPro, so don’t use it in the rain.
The GoPro sensors fluctuated between 1/2.3 and 1/1.9, essentially cellphone sensors. One-inch and 4/3 sensors are typically found in smaller cameras and not cell phones; given that a one-inch sensor is four or more times larger than a cell phone sensor, it will provide better colour, dynamic range, and resolution. Remember that 20 megapixels of resolution from a cellphone sensor differ in quality from 20 megapixels from a larger camera sensor.
The Pocket 3 has the advantage of a gimbal rather than stabilization. This is better for capturing video than a stabilization system when the camera is handheld. On the other hand, the GoPro requires a higher speed to use the stabilization, compromising the image quality and increasing noise in the images. The Pocket 3’s gimble also allows for “subject-tracking,” whether on a tripod or handheld. So, if you are holding the camera and filming yourself, you do not need to check that you are in the image as you navigate uneven terrain; the camera does this automatically. If the camera is stationary, you can be moving about the scene, and the camera will keep you in the centre of the scene. The image display can be rotated to facilitate a quick change from landscape to portrait mode. So switching back and forth is very quick, whether using the video for YouTube’s landscape world or doing a quick TikTok in portrait mode.
I will leave the detailed technical information and the configuration of the two kits to the references found below, particularly the DPReview, which is very comprehensive, as is the video produced by Gordon Laing.
The final point is a one-inch sensor does take good stills, and the camera can be used in this mode, as you may have gathered. So, it is also a compact camera; the only limitation here might be the lens, which is equivalent to a 20mm lens on a full-frame camera. In other words, it is a wide-angle lens. If you use the iPhone 15, the 1x lens is equivalent to 24mm. So, the Pocket 3 is wider in its field of view than your standard cell phone camera. You can find a discussion on other one-inch cameras in my article A Niche Market for 1″ Sensor Cameras.
Two Kits
The Pocket 3 is sold for $719.99 Cdn, and there is also the option to buy the device in a Creator Kit for $929.99. The kit includes several additional accessories, including a wireless microphone, which I believe makes the kit a better buy.
