Innehållsförteckning för Camera Handbook 2024 från Camera

Every year we select the reviews of the products we think have been the most significant new releases over the past 12 months or so. These are the products that, in one way or another, enhance our ability to take better photographs and su8bsequently be able to appreciate them. This may be a feature – the ‘live’ graduated neutral density filters in the OM System OM-1 Mark II is a good example – or the complete package such as the Fujifilm X100VI or the Nikon Z 8. The sixth edition of Fujifilm’s hugely popular X100 series is surely compact camera heaven now it has a 40 megapixels sensor. And Nikon’s Z 8 is essentially the flagship Z 9 in a more compact body, arguably making it the most desirable full…

In the same year that Nikon launched the FM2, 1982, Sony introduced the first video camera/recorder; the terminology quickly shortened to camcorder. The Sony Betamovie was the first combined video camera and recorder, and it used Sony’s Beta format cassettes. It was hardly compact, but it was the shape of things to come and a steady evolution to smaller tape formats – from VHS-C through 8mm to MiniDV – through to the use of memory cards resulted in ever smaller and lighter camcorders. So the idea that the FM2-styled Z f is a more capable video camera than any consumer-level camcorder ever was takes a bit of getting used to. If video is your main activity, it’s hard to see you picking the Z f over the Z 6II, but…

It doesn’t happen very often. The very first X100 was revealed at the 2010 Photokina, the assembled audience of generally cynical camera journalists applauded. Afterwards in the press room, the talk was mostly all about cancelling orders for whatever other high-end compact camera was on order and lining up for the new Fujifilm fixed-lens sensation. Subsequently, the X100 series has gone from strength to strength with every subsequent generation and it reached a frenzy with the fifth-iteration X100V which seemed to be permanently on back order for its entire model life. It was a nice problem for Fujifilm to have – except if you think about all those missed potential sales – but it’s not going to happen again the company says… which is just as well because the X100V’s…

It’s hard to see anybody buying the Q3 specifically to shoot video, even if 28mm has been dubbed ‘the cinematic focal length’. Interchangeable lenses are still more desirable, and the crops are a bit harder to work with when shooting video (although not impossible, of course). Nevertheless, the Q3 still boasts some serious video spec and certainly has enough to satisfy photographers who want to shoot moving pictures. In a nutshell, there‘s 8K up to 30 fps, 4K up to 60 fps and Full HD up to 120 fps plus L-Log and HLG (HDR) recording. The key negatives are the single memory card slot in the SD format and the absence of a stereo audio input for an external microphone. A product such as Zoom’s M3 MicTrak which combines both…

SIGMA 14mm f/1.4 DG DN ART $2650 Format: Full frame (35mm format) digital sensors. Angle-of-View: 114.2 degrees (diagonal). Construction: 19 elements/15 groups. Eight special elements – three ‘F’ low-dispersion (FLD) types, one super-low diffraction (SLD) and four aspherical types. Minimum Focus: 30 centimetres. Maximum Reproduction Ratio: 1:11.9. Aperture Range: f/1.4 to f/16. Overall Length: 149.9 millimetres. Maximum Diameter: 101.4 millimetres. Filter Diameter: N/A. Weight: FE mount = 1170 grams, L mount = 1160 grams. Lens Mount(s): Sony FE, L Mount Alliance (Leica, Panasonic and Sigma). Features: Weather-sealed external construction using magnesium alloy barrel tubes, brass lens mount casting, internal construction incorporates TSC (Thermally Stable Composite) polycarbonate materials, fluorine moisture-repellent coating on the front element, HLA (High-response Linear Actuator) autofocusing motor, internal focusing, rear filter holder for cut gel-type sheet filters,…

With the core elements of the previous model carried over to the Mark II upgrade of the OM-1, it’s not surprising that not much changes in terms of its video capabilities. However, the enhancements to the AF system are also available here, making the implementation of the subject-based recognition and tracking much easier, by-passing old route via the ‘C-AF + TR’ mode (which has gone completely). The improved AF control algorithms also deliver enhancements to speed and reliability. Additionally, the Mark II now has Webcam support built-in, and the ability to shoot video in the vertical orientation for mobile device applications. Both 4K DCI and 4K UHD can be recorded internally at 50 or 60 fps, and Full HD shooting is available up to 200/240 fps for slow-motion clips. There’s…

Fujifilm is actively targeting video users with the GFX100 II, specifically promoting it as an affordable alternative to the so-called ‘large format’ cinema cameras which mostly all cost a fortune. The larger imaging circle derived from the 44x33 mm sensor and the wide G mount make the GFX100 II multi-format so, in addition the GFX lenses, it can accommodate a wide selection of PL mount cine lenses (via an optional adapter), including the Fujinon Premista (Vista Vision) zooms (up to 5.4K in the 17:9 aspect), full frame 35mm (up to 4.8K at 3:2 aspect, and which includes the Fujinon Cabrio cine zooms) and anamorphic full frame 35mm (up to 8K at the 2.76:1 aspect, and with the availability of de-squeezing in-camera for monitoring and recording – at 1.3x, 1.33x, 1.5x,…

If you’re new to cine lenses you might be wondering about the T-stops and how they’re different from f-stops. The T stands for “transmission” and the T-stop – also called a T-number – is a measure of exactly how much light is passed through the lens (i.e. to the sensor), taking into account the losses which occur in the optical system due to refraction, diffusion or reflection. In comparison, f-stops are determined mathematically by dividing the focal length of the lens by the diameter of the aperture… so they’re a theoretical value rather than an actual value. The T-stop takes into account the number of elements in a lens’s optical construction, the quality of the optics and the effectiveness of the anti-reflection coatings. So, for example, due to variations in…

The Z 9 and the Z 8 are again very close in capabilities when it comes to shooting video. The Firmware 2.0 upgrade for the former added all the additional recording options that come as standard with the Z 8. These start with internal recording of 12-bit RAW video in the proprietary N-RAW format at 8.3K (8256x4644 pixels) and up to 60/50 fps, 4.1K (4128x2322 pixels) at up to 120/100 fps and 4K UHD up to 120/100 fps. Alternatively, the ProRes HQ RAW format is available for the 4K recording options at up to 120/100 fps again. Crops of 1.5x and 2.3x are available with the RAW recording, giving 5.4K and 3.8K resolutions respectively. Usefully for editing, Full HD proxy files are recorded along with the RAW format. Using the…

When you start shooting video, you learn very quickly that the sound is as important as the vision. A good soundtrack adds more dynamism, depth and emotion to the imagery and, if you’re recording voices, they need to be clear and understandable. Audio recording is a whole new ball game for photographers, and it has its own technical complexities and challenges. As with video, there’s a lot to learn. Digital audio recording specialist Zoom – which is a Japanese company – specialises in compact and highly-portable devices which are capable of delivering high-quality sound on location. Zoom products have become popular with professional filmmakers who shoot in challenging locations and extreme conditions, capturing subjects such as adventure sports and expeditions. Recently the company launched a new series of products called…

LEICA M11-P $15,390 body only, recommended retail Type: Coupled rangefinder digital camera with interchangeable lenses using Leica M-bayonet mount (with contacts for 6-bit coding for lens ID). Focusing: Manual via double-image rangefinder in view-finder. RF base length is 69.31mm (effective base length is 50.6 mm). Focusing in live view assisted by a magnified image (5.0x or 10x, with image stabilisation) or focus peaking display (red, green, blue or white, and high or low sensitivity). Metering: TTL using the image sensor (with both RF and LV) with multi-zone, centre-weighted average, highlight-weighted or spot measurements, and TTL flash metering using the imaging sensor with centre-weighted average measurements. Exposure Modes: Aperture priority auto and metered manual. Shutter: Electronic focal plane, vertical travel, metal blades. 480-1/4000 second plus ‘B’ and ‘T’ (up to 60…

COMPETITION Since launching back in 2011, the Pink Lady® Food Photographer Of The Year competition has grown to attract many thousands of entries from all over the world. It is open to both amateur and professional photographers. Food is, of course, a vital part of life and so it’s a huge subject with many diverse aspects from production to presentation to consumption. This is reflected in the competition’s many categories which include Bring Home The Harvest, Food In Action, Food For Celebration, Politics In Food, Food For Life, and Moments Of Joy. The Claire Aho Award For Women Photographers category is named after who a trail-blazing Finnish photographer. Claire Aho (1925-2015) was given her first camera at the age of ten, and she then worked as a commercial photographer from…

NIKON Z f $3,949 body only, recommended retail price Type: Enthusiast-level digital mirrorless camera with Nikon Z bayonet lens mount Focusing: Automatic via 299 points (89 percent vertical/96 percent horizontal frame coverage) using hybrid phase/contrast detection. Area modes are Pinpoint, Single-Point, Dynamic Area – Small, Dynamic Area – Medium, Dynamic Area - Large, Wide Area Small, Wide Area Large, Wide Area – Custom 1 and 2 (with 77 shape/size options from 1x1 to 21x13 points), Auto Area, 3D Tracking, Subject Tracking. Manual switching between one-shot and continuous modes for photography with auto switching in AF-F mode for video. Body/head/face/eye detection for humans, body/head/eye detection for animals (dogs, cats and birds), subject recognition for cars, motorcycles, bicycles, trains and aircraft. Auto subject detection. Adjustable tracking sensitivity. Sensitivity range is EV -10…

Regardless of the many upgrades, it’s still hard to see the X100VI being the first choice for any serious video-maker, but it is capable of serious results so there’s potential as a compact back-up camera or for shooting in situations where anything bigger and heavier just isn’t practical. As with the X-T5, there are physical limitations too, such as the absence of a proper output for monitor headphones and the micro HDMI port. Plus there’s only SD card UHS-I speed support. Furthermore, the headlining 6.2K res recording comes with a substantial 1.23x crop which is a bit harder to get round with a fixed lens camera… the effective focal length becomes 43mm. This crop also applies to the HQ modes for 4K DCI and 4K UHD recording (which are oversampled…

BENRO CYANBIRD TCBH15 & NOOP PHOTO BALL HEAD $599 Leg Material: Carbonfibre and aluminium alloy. Leg Sections: Five. Leg Angle Settings: Three. Tripod Body Material: Magnesium alloy. Head: Ball-type with dual panorama adjustments, quick release Arca-Swiss plate, bubble level. Folded Length: 46 centimetres. Maximum Working Height: 132 centimetres (155 cm with centre column extended). Minimum Working Height: 17.7 centimetres. Weight: 1.08 kilograms (includes ball head). Maximum Load Rating: 4.0 kilograms. Maximum Leg Section Diameter: 34.5x19.5 millimetres. Minimum Leg Section Diameter: 24.1x9.1 millimetres. Feet: Rubber pads (non-removable). Additional Features: ‘Arch’ profile leg sections, leveroperated clamp locks for leg sections and centre column, dual section centre column with ballast hook, bubble level, four ¼-inch screwthread mounting points. Price: $599, includes padded wrap-style carry case and shoulder strap. Distributor: Maxxum Pty Ltd, visit…

LEICA Q3 $10,290 Recommended retail price Type: Fixed prime lens digital compact camera with electronic viewfinder. Lens: Leica Summilux 28mm f/1.7 ASPH. Eleven elements in nine groups (three aspherical types). Aperture range is f/1.7 to f/16, adjustable in 1/3-stop increments. Built-in optical image stabilisation with 2.5 stops of correction for camera shake. Metal lens hood supplied. 49 mm screwthread filter fitting. Viewfinder: OLED-type EVF with 5.76 megadots resolution, 0.79x magnification and 60 or 120 fps refresh rate. Adjustable for brightness and colour balance. Auto/manual switching between EVF and monitor screen. Monitor: 7.62 cm TFT LCD with 1.84 megadots resolution. Adjustable for up/down tilt. Adjustable for brightness and colour balance. Focusing: Hybrid phase/contrast-detection measurement with 315 focusing points. Contrast detection via DepthFrom-Defocus (DFD) calculations. Auto/manual point selection. Area modes are Spot,…

Ilford Galerie Cotton Fine-Art Papers Photographers and print-makers can rely on these 100 percent cotton fine-art inkjet papers to produce the highest quality digital prints in either colour or B&W. Ilford Galerie Smooth Cotton Sprite A 100 percent cotton rag fine-art paper with a weight of 280 gsm, Smooth Cotton Sprite has an ultra-smooth surface with a natural base tint. With no optical brighteners, a medium weight quality and excellent image stability, Galerie Smooth Cotton Sprite ideal for interior décor applications and art reproduction of fine-art, pop art and artistic illustrations. It is compatible with pigmented ink photo printers. It is available in cut sheet sizes up to A2+ size and paper rolls in 17, 24, 36, 44 or 50 inches widths. Ilford Galerie Textured Cotton Sprite Ilford Galerie Textured…

OM SYSTEM OM-1 MARK II $3779 body only, recommended retail price Type: Enthusiast-level and semi-professional interchangeable lens digital mirrorless camera with Micro Four Thirds System bayonet lens mount. Focusing: Automatic ‘Cross Quad Pixel AF’ hybrid system using contrast-detection and phase-difference detection measurements via the imaging sensor with 1053 X-type focusing points for each. Sampling at 120 fps with 100 percent scene coverage vertically and horizontally. Focus points may be selected manually or automatically by the camera. Area modes are Single, Small (3x), Medium (9x7), Large (15x11), Cross (9 points horizontally, 7 vertically), or Custom shape/size (up to four). ‘Intelligent Subject Detection AF’ tracking modes for humans, animals, birds, motorsport (cars and motorcycles), aircraft (including helicopters) and trains. Eye/face/head/body detection for humans and animals. Up to eight targets can be tracked…

FUJIFILM GFX100 II $12,599 body only, recommended retail price Type: Professional digital medium format mirrorless camera with Fujifilm G bayonet lens mount. Focusing: TTL automatic hybrid system using phase-difference detection and contrast-detection measurements. 425 measuring points (in 25x17 or 13x9 patterns). Single-point (six sizes), zone (9x3, 7x1, 7x3, 7x7, 5x5, 5x3 or 3x3 point clusters selected from 117 points), three custom zones (variable in size and shape) and wide/tracking modes. Five ‘AF-C Custom’ settings for optimising tracking plus a userdefinable setting for Tracking Sensitivity, Speed Tracking Sensitivity and Zone Area Switching. Face/eye detection with left/right eye priority. Subject detection for animals, birds, cars, motorcycles and bikes, aircraft and trains. Focus frame adjustable to five sizes. Manual switching between one-shot and continuous AF modes. AF+MF mode. Low-light assist via built-in illuminator.…

SLR MAGIC MICROPRIME CINE 50MM T1.2 $1049 Format: Full frame (35mm format) digital sensors. Image Circle: 44 millimetres. Angle-of-View: 46.8 degrees (diagonal). Construction: Seven elements/six groups. Minimum Focus: 60.9 centimetres. Aperture Range: T1.2 to T16. Overall Length: 87.0 millimetres. Maximum Diameter: 85.0 millimetres. Filter Diameter: 82 millimetres. Weight: 700 grams. Lens Mount(s): Sony FE. Mechanical coupling only. Features: Metal barrel tubes, cine-standard geared control collars for manual focusing and aperture setting (both 0.8 MOD/32 pitch), clickless aperture control, internal focusing, 13 blades diaphragm. Compatible with the SLR Magic 65-1.33x Anamorphic adapter. Price: $1049. Distributor: C.R. Kennedy & Company Pty Ltd), visit https://www.crkphotoimaging.com.au…

NIKON Z 8 $7,449 body only, recommended retail price Type: Professional or enthusiast-level digital mirrorless camera with Nikon Z bayonet lens mount Focusing: Automatic via 493-points wide-area system (90 percent vertical/horixontal frame coverage) using hybrid phase/contrast detection. Area modes are Pinpoint, Single-Point, Dynamic Area – Small, Dynamic Area – Medium, Dynamic Area - Large, Wide Area Small, Wide Area Large, Wide Area Large - People, Wide Area Large – Animals, Auto Area, Wide Area – Custom 1 & 1 (with 20 shape/ size options), Auto Area – People, Auto Area – Animals, 3D Tracking, Subject Tracking. One-shot and continuous modes with auto switching in AF-F mode. Body/head/ face/eye detection and subject recognition for humans, dogs, cats, birds, cars, motorcycles, bicycles, trains and aircraft. Subject type detected automatically in Auto Area…

ZOOM M3 MICTRAK $349 Design: Mid-side configuration. Mid mic = supercardioid with 133 dB SPL. Side mic = bidirectional with 119 dB SPL. Dual/AD converter circuits, so no input gain control necessary. Outputs: Line = 3.5 mm stereo minijack. Phono = 3.5 mm stereo minijack. Digital Recorder: Four channel recording (stereo recording and simultaneous line out), WAV format, 48 kHz, 32-bit floating point sampling. Recording Media: microSD memory cards (up to 1.0 TB microSDXC). Interface: USB Type C (2.0 High Speed). USB power bus is supported. Power: Two AA size batteries (alkaline, lithium or rechargeable NiCd). 12 hours power supply (alkaline). Power Consumption: 1.5 watts maximum. Dimensions (WxHxD): 71.6x38.0x201.3 mm. Weight: 135 grams (with batteries). Price: $349. Distributor: Dynamic Music, visit www.dynamicmusic.com.au…

Technology has rather trumped tradition in camera design over the last decade or so, but with retro being very much in fashion everywhere – and the promise of new film cameras (serious ones, that is) any time soon – the value of heritage is starting the gain more recognition. Of course, Leica does it best with its M series digital rangefinder models, although to some extent, it hasn’t had much choice with such a strong legacy overshadowing everything. Fujifilm’s more voluntary adoption of a dial-based control layout for its X-T series cameras has arguably been a more successful marriage of the old and the new given there’s no real links to the past (the Fujica 35mm SLRs were largely unremarkable). However, Nikon really does have something to celebrate with its…

CAMERA ICONS Of all the likely millions of pictures taken of The Beatles, the most significant for the camera industry depicted the Fab Four clutching Pentax Spotmatics. In fact, there are many photos from the early 1960s showing Paul, John, George and Ringo with various Asahi Pentax 35mm SLRs and appears these cameras were most likely private purchases, but by the time the Spotmatic arrived in 1964, the commercial opportunities of such an association were just too good to miss. The Beatles were global stars and the Spotmatic quickly became one too, taking Pentax to the top of the sales charts and popularising the 35mm SLR. For the next couple of decades the Japanese camera industry’s fortunes would be built on the 35mm SLR. The genesis of the Spotmatic dates…

FUJIFILM X100V $2899 recommended retail price Type: Fixed prime lens digital compact camera with hybrid optical/electronic eyelevel viewfinder. Lens: Fujinon Super EBC 23mm f/2.0 II (equivalent to 35mm). Eight elements in six groups (two glass-moulded aspherical types). Aperture range is f/2.0 to f/16 adjustable in 1/3-stop increments. Built-in neutral density filter (four stops). Digital teleconverter (70mm or 50mm equivalents). Viewfinder: Hybrid optical/electronic eyelevel viewfinder. Optical viewfinder = 0.52x magnification and 95 percent frame coverage. EVF = 1.27 cm OLED panel with 0.66x magnification, 3.69 megadots resolution and 100 percent frame coverage. Eyepiece strength adjustment built-in. Tilt-adjustable 7.62 cm LCD monitor (1.62 megadots resolution) with touch screen controls. Auto/manual switching between OVF/EVF and monitor screen. Both EVF and monitor adjustable for brightness and colour balance. Focusing Type & Range: Hybrid phase/contrast-detection…

ON TRIAL LEICA Q3 Do you wonder whether camera designers are surprised when a new model turns out to be a big hit? After all, for it to get to market (many don’t), plenty of people along the way must have thought it was a good idea. But how good? For Leica, its heritage casts a long shadow over any new camera project, especially one that makes significant breaks with tradition which is why there’s been the softly-softly approach to the digital Ms. So there must have been a bit of trepidation when the wraps came off the original Q back in early 2015… and some relief when it was so enthusiastically embraced by the market. Tellingly, the Q concept works as much because of what it isn’t as because…

Even with the extra freedoms derived from the mirrorlss camera configuration and the availability of in-camera correction processing, there are optical designs that remain challenging. One of them is combining an ultra-wide focal length with an ultra-fast maximum aperture… say 14mm and f/1.4. There’s already a 14mm f/1.8 ultra-wide prime from Sigma which was originally designed for DSLRs, but is now also available in the FE and L mirrorless mounts. The Sigma 14mm f/1.4 is a mirrorless era creation so it’s two-thirds of a stop faster and takes over the crown as the fastest ultra-wide prime for full frame sensors. At f/1.4 there’s 1.6x more light entering the lens than at f/1.8. To add to the design challenges, Sigma has optimised the 14mm f/1.4’s optics for astrophotography which requires additional…

ON TRIAL OM SYSTEM OM-1 MARK II It was critical for OM Digital Solutions that the original OM System OM-1 was a success. It certainly helped that it was still badged Olympus and wearing the famous model number that got it all started back in 1972, but OMDS nevertheless put a lot into it at a time when resources were likely limited. Consequently, much of the ‘old’ camera has been carried over into the new to make use of existing tooling and production processes plus the OM-1 Mark II shares the same stacked 20.4 megapixels sensor and ‘TruePic X’ processor. However, there are numerous upgrades to both firmware and software to extend the Mark II’s capabilities and performance in a number of key areas, including the autofocusing and in-body image stabilisation.…

When the GFX100 was launched at the 2018 Photokina - the last one ever as it’s turned out - it represented a whole bunch of digital medium format camera ‘firsts’… in addition to being the first 100 megapixels mirrorless digital medium format camera, of course. Notably, it was the first with in-body image stabilisation, the first with phase-different detection autofocusing (PDAF), the first with 4K video recording and the first with extended specifications such the ISO and shutter speed ranges. The sensor itself was a first too… the first BSI-type CMOS in the so-called “44×33” format. The GFX100 II adds a few more ‘firsts’ for a digital medium format camera (well, let’s be honest, for any medium format camera) – 8.0 fps continuous shooting, subject-recognition modes for AF tracking, 8K…

The world of cinema lenses is a fascinating one. It spans the hugely expensive optics used in mainstream movie and TV productions – such as those from Leitz Cine and Zeiss – to all manner of vintage lenses often picked up for a song. The latter gained in popularity after the video-enabled DSLRs started appearing, and very quickly classic 35mm SLR system manual focus prime lenses were in high demand… Nikkors, Rokkors, Super Takumars, Hexanons and Leica R mount (a very popular option). Manual focus is preferred and so is manual aperture control so it doesn’t matter that the many mount adapters are simply physical couplings. A classic Nikkor prime fitted to an EOS 5D II/III/IV body was quite a commonly-seen configuration. The near-endless permutations in lens mount adapters that’s…

Almost immediately after the Z 9’s launch there was talk – undoubtedly based on Nikon’s long track record with such things – of a more compact and more affordable version of the flagship Z mount flagship, but which maintained all the key capabilities. And so the Z 8 has come to pass and, lo, it is indeed a Z 9 in a great many respects and, as such, is where you’ll likely go next if you’ve been using a D810 or D850… but also where you could well go if you’re still contemplating which way to jump in the transition from any high-end DSLR to a comparable mirrorless camera. In a nutshell, the Z 8 is essentially the Z 9 minus the integrated vertical grip – there’s the accessory MB-N12…

It’s pretty hard for a digital Leica M camera to look anonymous. From a distance it might just be mistaken for one of Fujifilm’s X-Pro models or maybe even an X100, but up close there’s no mistaking the shape and styling. Yup, that’s a Leica alright, even if it doesn’t say so on the front. So the M11-P is the ‘stealthy’ version of the standard M11 which means that it goes without the famous red-dot badge – a dead giveaway even if you don’t know your cameras – but there’s still ‘Leica’ writ rather large on the top plate in the classic script that dates back to the 1930s. It’s engraved and painted in, of course, not screen-printed, but it does rather give the game away. Tiny lettering on one…

BENQ PHOTOVUE SW272U 4K ADOBE RGB 90W USB-C $2499 Panel Type: 68.4 centimetres (26.92 inches) IPS with white LED backlighting. Display Area: 596.7x355.6 millimetres. 16:9 aspect ratio. Native Resolution: 3840x2160 pixels (163 ppi). Viewing Angles: 178 degrees horizontal and vertical. Brightness: 400 nits. Contrast: 1000:1. Display Colours: 1.07 billion. Colour Range: 100 percent sRGB, 99 percent Adobe RGB, 99 percent DCI-P3. Internal Processing: 10-bits per colour. Height Adjustment Range: 14.0 centimetres. Mount Adjustments: -5.0-20 degrees tilt, 30/30 degrees left/right swivel, 90 degrees pivot (for portrait format). Connections: Back panel = Display Port 1.4, two HDMI 2.0, one USB 3.2 Type C (data, AV, 90 watts power delivery, alternate Display Port mode), one USB Type B. Bottom panel = two USB 3.2 Type A and a 3.5 mm stereo audio output.…