Up until now, the retro camera trend has been limited to compacts (fixed- or interchangeable-lens). With the new Df, Nikon brings classic styling to a DSLR. The two-toned, black-and-silver (or all-black) body is fairly bristling with physical dials, evoking yesteryear with aplomb, yet the imaging engine is the same as that found in Nikon’s full-frame flagship D4. But unlike the D4, the $2,747 (street) Df won’t capture video. How’s that for retro?

In the Test Lab

While the Df’s 16.2MP sensor captured barely enough resolution to earn an Excellent rating in our test, it held onto its resolving power quite steadily up to ISO 800. This, combined with stellar noise performance and very accurate color reproduction, made for an overall image quality rating of Excellent from ISO 50 through 800.

In our resolution test, the Df turned in 2510 lines per picture height at ISO 50—just edging over our threshold of 2500 lines for an Excellent rating. At ISO 800, it delivered exactly 2500 lines. Resolution drops off gradually from there: to 2460 lines at ISO 1600; to 2410 lines at ISO 6400; then to 2360 lines at the camera’s top numbered sensitivity of ISO 12,800.

Above that, Nikon labels sensitivity H1 through H4, corresponding to ISO 25,600 through ISO 204,800. With these, Nikon indicates that image quality will decline past standards the company has set for itself. And indeed, resolution drops off more sharply here: from 2275 lines at ISO 25,600 through 1700 lines at the top sensitivity of ISO 204,800. Quite a decline; yet very few cameras can even capture at such high ISOs.

Noise suppression proved to be a big strong point for the Df. The camera earned our top rating of Extremely Low from ISO 50 through ISO 800, and it didn’t reach an Unacceptable level until ISO 12,800—and even then, just by a hair. We captured many images during our field testing at ISO 12,800 that could be turned into pleasing prints and would be great for sharing online. Even at ISO 51,200 or 102,400, you’ll be likely to get images usable for sharing through social networks, depending on the content of the scene.

While the Df’s imaging closely matches that of the D4—with even less noise at ISO 1600 and under—autofocus is more in line with the D600, Nikon’s consumer full-framer, now replaced by the D610. (No surprise, since the two both use Nikon’s Multi-CAM 4800 system.) At the brightest point in our test, the Df locked focus and captured an image in 0.46 second. There are certainly faster-focusing DSLRs, but this is still pretty quick and didn’t pose a big problem during field testing. AF didn’t slow very much until the light became dimmer than EV 6—roughly the equivalent of a well-lit room. The Df was able to focus and capture in under a second until the moonlight-like dimness of EV 0. Nikon rates the Df’s AF as effective only down to EV –1, and this proved to be true in our test.

In the Field

Often during our field testing, strangers and friends asked if the Df was a film camera. We reinforced this impression by shooting with an old non-AI 50mm f/1.4 Nikkor, but the Nikon Df does evoke the film SLRs of the ’70s. People most often compare the look of the Df to that of the Nikon FM. (Of course, the FM didn’t have a front-mounted command wheel, since you’d adjust aperture with that thing on the lens called an aperture ring.)

Also unlike the FM, the Df has a nice little half-grip for your fourth finger and pinky. This lets you use a front-mounted dial with your middle finger while keeping your forefinger on the shutter release at all times, unless you screw a mechanical cable release (really!) into the button to trip it remotely. We applaud the grip design but, as usual, we suggest an improvement on the next version: a slight recess for the fingertips to hold it more securely.

When we first held the camera, we tried to adjust the front-mounted wheel with our index finger, but quickly found that it’s much better to turn it with the middle finger and dedicate the index finger to the shutter release. After so many years of using buttons, command wheels, little joysticks, and dashboard-style displays on LCD screens to change DSLR settings, it took a little practice before using the Df’s many dials became second nature. Then we recalled what we love about dials: You can adjust them without having to turn the camera on, and check all your settings when the camera is off. Dials also make it easier to change settings without looking—a few click-stops around will get you any setting you want.

It’s pretty easy to use older lenses on the Df. Nikon’s Automatic Maximum Aperture Indexing (AI) system, introduced in 1977, uses a ridge on the rear of the lens barrel to engage a coupling lever on an AI camera. On early AI bodies, this lever was retractable, but not on later ones, causing damage with non-AI lenses. But on the Df the coupling lever retracts, letting us use our non-AI 50mm f/1.4.

For a correct meter reading with such a lens, you set your aperture using the front command dial and turn the aperture ring on the lens. This adds a step in shooting, but it opens up lots of fun lens options for the Df. Indeed, with any lens without electronics (a.k.a. non-CPU lenses), you’ll also have to give the Df some information so the meter functions properly: In the setup menu, select Non-CPU Lens Data and input the focal length, maximum aperture, and whether it’s an AI or non-AI lens. It stores info on up to nine such lenses.

After focusing manually with our old lens, we yearned for a split-image focusing screen—alas, there is no such option for the Df. Switching back to a current lens, we enjoyed the Df’s 3D tracking autofocus, which kept up well with the camera’s 5.5-fps burst speed. You can shoot up to 25 uncompressed 14-bit RAW frames, 21 full-size TIFFs, or more than 100 JPEGs per burst before the buffer fills. Too bad the Df has only one SD card slot. For a camera at this price point, with these capabilities, two slots would make more sense.

The Bottom Line

If you have a stash of older Nikon glass, especially non-AI lenses, the Df is pretty much your only DSLR option without having your lenses modified. If you don’t have old glass, you may be better served by the D610, which will save you enough money for another lens. Of course, that means you’ll miss out on the Df’s unique style—but only you can decide how much that matters to you. Suffice it to say that this still imaging machine has all the flair and prowess most advanced enthusiasts could ever want.

SPECIFICATIONS:
IMAGING: 16.2MP effective, full-frame CMOS sensor captures images at 4928×3280 pixels with 12 or 14 bits/color in RAW mode
STORAGE: SD, SDHC, SDXC. Stores JPEG, NEF RAW, RAW + JPEG, TIFF
BURST RATE: Full-sized JPEGs (Fine mode): 5.5 fps over 100 shots;
RAW (14-bit): 5.5 fps up to 29 shots; TIFF: 5.5 fps up to 21 shots when using a UHS-I memory card
AF SYSTEM: TTL phase detection using Multi-CAM 4800 AF module with 39 focus points (9 cross-type); single-shot and continuous with 3D predictive focus tracking; –1 to 19 EV (at ISO 100)
SHUTTER SPEEDS: 1/4000 to 4 sec (in 1-EV increments using shutter-speed dial); 1/4000 to 30 sec (in 1/3-EV increments using main command wheel); shutter life rated to 150,000 cycles
METERING: TTL metering using 2016-pixel RGB sensor with 3D Color Matrix (evaluative), centerweighted, and spot (approx. 1.5% of frame) metering; 0–20 EV (at ISO 100)
ISO RANGE: ISO 100–12,800 (in 1/3–EV increments); expandable to ISO 50–204,800
FLASH: No built-in flash; hot shoe with i-TTL works with Nikon Creative Lighting System; flash sync to 1/200 sec
VIEWFINDER: Fixed eye-level pentaprism
LCD: Fixed 3.2-in. LCD with 921,000-dot resolution; 11-step brightness adjustment
OUTPUT: Hi-Speed USB 2.0, mini HDMI video
BATTERY: Rechargeable EN-EL14a Li-ion, CIPA rating 1400 shots
SIZE/WEIGHT: 5.6×4.3×2.6 in., 1.7 lb with card and battery
STREET PRICE: $2,747, body only; $2,997, with AF-S Nikkor 50mm f/1.8G Special Edition lens
FOR INFO: www.nikonusa.com
VIEWFINDER TEST: Accuracy, 100% (Excellent); Magnification, 0.70X (Good).

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At the Photokina trade show this year Leica announced that they would be making a special 60th anniversary version of the M (typ 240) to mark this milestone for the company’s iconic camera system. In conjunction with Audi’s industrial designers, Leica created a camera that they say is dedicated to, “reductionism as a celebration of photographic art.” What this means is a digital rangefinder body that has no LCD screen and only gives you control over shutter speed, aperture, focusing, and ISO.

Given a few moments with the camera, we didn’t even notice a way to format an SD card. Add to that the fact that it has no lugs with which to attach a camera strap and you have to wonder if Leica expects these collectible cameras to ever be used to make photos at all. They’re lovely to look at though.

Leica M Edition 60

Leica M Edition 60

Leica M Edition 60

Leica M Edition 60

Leica M Edition 60

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Ever since the first full-frame DSLR hit the market, photographers have been begging for less expensive options for large-sensor image capture. Canon’s current answer? The 20.2MP EOS 6D ($2,099, street, body only). While that’s still a hefty chunk of change for most people, it’s also $1,400 less than Canon’s EOS 5D Mark III ($3,499, street, body only). When we tested competitor Nikon’s D600 in our December 2012 issue, it proved a very capable camera that could easily serve as a backup body for a pro or a main camera for a photographer just getting into the full-frame world. Does Canon’s 6D deserve similar accolades?

In the Test Lab
Like the 5D Mark III before it, the 6D keeps noise well under control throughout most of its wide sensitivity range. This, along with serving up accurate colors and an admirable amount of resolving power, combine to earn the 6D an overall image quality rating of Excellent from the lowest sensitivity of ISO 50 (Canon calls it Lo) all the way up to ISO 6400. If you began your journey in photography during the film era, this means that you can get top-notch images at any of the ISOs that were available to you when you started shooting.

Even though it has fewer pixels than the 5D Mark III or Nikon D600, the 6D still easily earned an Excellent rating in our resolution test with 2625 lines per picture height at ISO 50. More impressive was its ability to keep that resolving power high as the sensitivity increases. By ISO 800, the 6D had dropped only 50 lines to 2575. It then continues to hold most of that, dropping to 2550 lines by ISO 6400. After ISO 6400, resolution takes a nosedive with 2190 lines at ISO 12,800, then 2120 at ISO 25,600, and 1800 at ISO 102,400.

Color accuracy also easily snagged an Excellent rating with an average Delta E of 7.3. Though it’s rare to find a DSLR these days that doesn’t ace this test, Canon deserves kudos for maintaining its good track record in this critical area of imaging.

In our noise test, the 6D kept that pesky annoyance to levels commensurate with a Low or better rating all the way up to ISO 12,800. The only reason the image quality score didn’t reach that high up to this sensitivity is because of that sharp drop-off in resolution that we just mentioned. Interestingly, a similar drop-off occured in the 5D Mark III after ISO 12,800. Nikon’s D600 outresolves both the 6D and 5D Mark III, but holds noise to Low or better levels only up to ISO 3200. Meanwhile, that camera tops out at ISO 25,600, while both of the Canons mentioned here top out at ISO 102,400.

If there’s one area where you’ll notice the difference between the 6D and 5D Mark III, it’s in autofocus. It’s not that the 6D is lacking in any big way, but the 5D Mark III excels in this area with a 61-point system made for tracking fast-moving subjects. The tough part is that shooters who are used to Canon’s EOS 7D ($1,600 street, body only) might find the 6D a tad on the sluggish side, and not as powerful as that body when it comes to focusing. Furthermore, the 7D’s and 5D Mark III’s systems cover a larger part of the finder than the 6D’s 11-point diamond pattern does.

While the 6D can’t be called slow when it comes to AF, it becomes less consistent as the light grows dimmer. Our official test results represent the average focusing speed at various light levels when using our 50mm f/1.4 test lens. But, at EV 1 and darker, we saw more variation (in excess of a tenth of a second on either side of the average) than we’re used to. To its credit, the 6D never failed to focus in our test.

Its AF is also rated by Canon to extend down to EV –3, while the Nikon D600’s is rated as effective down to only EV –1, which we confirmed in our test. Our test only extends to EV –2 (the lower limit of our Sekonic L-758DR light meter), so we couldn’t confirm Canon’s claimed bottom limit.

In the Field
While Nikon’s D600 feels as though it belongs below the D800 in that company’s line of DSLRs, the 6D feels every bit as solid as the 5D Mark III. Sure, it’s missing some amenities, notably the 5D Mark III’s joystick and 100-percent accurate viewfinder, but it still has the feel of a powerful camera.

The 6D sports only a single SD-card slot (the Nikon D600 has two), and it lacks a pop-up flash (you can use the one on the D600 to wirelessly control off-camera flashes). We continue to be puzzled as to why Canon hasn’t begun to include this in more of its DSLRs, especially in one like the 6D that is meant to attract photographers who aren’t pros.

Anyone used to mid-level and above Canon bodies will find themselves at home with the 6D. Dedicated buttons for AF, drive, ISO, and metering line the top of the LCD on the camera’s top panel. The large wheel on the back provides constant access to exposure compensation, while an inset control pad lets you navigate through menus or select focusing points. This is not as elegant as a joystick, but it works just fine.

Canon’s 63-zone exposure metering system works quite well. It did a good job of conserving highlight info, but it doesn’t seem to make decisions that are as complex as Nikon’s Matrix metering does. Furthermore, the D600’s spot meter is much tighter, covering 1.5 percent of the finder versus the 6D’s 3.5-percent spot.

Burst shooters won’t be blown away by the 6D’s 4.5-frame-per-second continuous drive mode, but we should remember that only a few years ago this would be considered fast for a camera in this price range. The buffer can hold up to 1,250 large, fine JPEGs, 17 RAW images, or 8 RAW + large, fine JPEGs. The D600 captures one more frame per second than the 6D, but maxes out at 57 JPEGs while allowing up to 16 RAW images.

The coolest new thing about the 6D is its built-in Wi-Fi. At a family gathering, we shot a group portrait, downloaded the free (Android/iOS) Canon EOS Remote app to a Samsung Galaxy SIII smartphone, figured out how to pair the camera and phone without reading any instructions, and managed to have the shot uploaded to Facebook all within 10 minutes.

Pairing the devices took the longest chunk of that time—though it shouldn’t have. Just make sure to activate Wi-Fi on your phone, select the camera through the phone, and all should be well. We mistakenly tried pressing the camera connection button in the app without first telling the phone to accept the Wi-Fi connection to the 6D. Subsequent uploads went quickly and painlessly.

In addition to transfering images, the app can be used as a remote viewfinder. Place the 6D anywhere within Wi-Fi range and you can see the camera’s live view through your phone, change basic settings (such as shutter speed, aperture, and ISO), and trigger the shutter.

Bottom Line
Just as with the D600, we were quite impressed with the EOS 6D. There are clear compromises that must be made to reach this price point, but we feel Canon did a good job of cutting costs in the right places to create a camera that is a pleasure to use.

Shooters who demand pro-level power will still gravitate toward pricier models or stick with APS-C. But, for the majority of shooters, the 6D offers plenty of bang for the buck. At the same time, we hope Canon includes a pop-up flash on the next iteration of this camera. The benefit in wireless control alone is enough to warrant it. Plus, even though we always say not to use it unless you absolutely have to, we do sometimes use pop-up flash and it’s good to have in a jam.

While we’re sure that there will always be people who want full-frame image quality for even less money, Canon has done a great job of delivering wonderful image quality for a price that should satisfy more photographers than ever before.

SPECIFICATIONS
IMAGING: 20.2MP effective, full-frame CMOS sensor captures images at 5472×3648 pixels with 14 bits/color in RAW mode.
STORAGE: SD, SDHC, SDXC. Stores JPEG, CR2 RAW, or RAW + JPEG files.
VIDEO: Records up to 1920×1080 pixels at 30 or 24 fps in MPEG-4 H.264 format with choice of ALL-I or IPB compression; built-in monaural microphone; stereo microphone input; approx. 29-min 29sec maximum clip size at highest quality.
BURST RATE: Full-sized JPEGs (Fine), up to 1,250 shots at 4.5 fps; RAW, up to 17 shots at 4.5 fps; RAW + JPEG, up to 8 shots at 4.5 fps; using a UHS-I compatible SD card.
AF SYSTEM: TTL phase-detection with 11 illuminated focus points (single center cross-type point); single-shot, continuous, predictive focus tracking; tested sensitivity down to EV –2 (at ISO 100, f/1.4), Canon rates to EV –3.
LIVE VIEW: Full-time contrast detection, or single-shot phase-detection AF with mirror interrupting view momentarily.
SHUTTER SPEEDS: 1/4000 to 30 sec, plus B (1/3-EV increments); shutter life not rated; flash sync to 1/180 second.
METERING: TTL metering using 63-zone sensor; Evaluative, centerweighted, partial (approx. 8% of finder at center), and spot (approx. 3.5% of finder at center); range, 1 to 20 EV (at ISO 100).
ISO RANGE: ISO 100–25,600 (in 1- or 1/3-EV steps), expandable to ISO 50–102,400.
VIEWFINDER: Fixed eye-level pentaprism.
LCD: Fixed 3-in. TFT with 1.04 million-dot resolution, 7-step brightness adjustment.
OUTPUT: Hi-Speed USB 2.0, mini-HDMI video, and composite video.
BATTERY: Rechargeable LP-E6 Li-ion; CIPA rating, 1090 shots with optical viewfinder.
SIZE/WEIGHT: 6.0×4.6×3.0 inches, 2.1 lbs with a card and battery.
STREET PRICE: $2,099, body only; $2,899 with 24–105mm f/4L IS USM AF EF lens.
INFO: www.canoneos.com

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SEE IT

If you’re not a pro photographer or would rather avoid the expense of a full-frame camera, a model such as Canon’s EOS 80D, with a 24.2MP APS-C-sized CMOS sensor, represents one of the best combinations of performance versus cost. In this case, you get enough resolving power to make prints larger than 11×14 inches; fast bursts of 7 frames per second for up to 110 large, fine JPEGs or 25 RAW frames before the buffer fills; and a 45-point phase-detect autofocus system as well as Canon’s innovative Dual Pixel CMOS AF for live view and video shooting. Shutter speeds as fast as 1/8000 sec and sensitivity up to ISO 25,600 help tackle challenging shooting environments, while the 63-zone, 7,560-pixel metering system helps you get a proper exposure. And it sells for $1,199, body only, or $1,549 kitted with an EF-S 18–135mm f/3.5–5.6 IS USM lens.

Interested to find out if its image quality lives up to its impressive specs, we brought the Canon EOS 80D to the Popular Photography Test Lab and then took it out into the real world for field testing.

In the Test Lab

Even though the 80D has 4 million more pixels than the 70D, Canon managed to keep noise under better control. As a result, the 80D earned an Excellent rating in overall image quality from its lowest sensitivity of ISO 100 through ISO 1600—two stops further than the 70D. This matches the result that Nikon’s D7200 got when we tested it in our July 2015 issue. However, neither of these DSLRs extend their Excellent scores up to ISO 3200 as the little Sony A6300 did in last month’s test.

As most cameras do these days, the 80D aced our color accuracy test with its average Delta E of 7.9, coming in just below our cutoff of 8.0 for top honors in this lower-is-better test. Sony’s A6300 barely beat this with a 7.8, while the Nikon outperformed both with a 6.8. All three of these cameras capture accurate colors far better than the average consumer film ever did.

Capturing 2780 lines per picture height at ISO 100, the 80D easily earned an Excellent rating in our resolution test. This puts it very close to the 2825 lines that both the Nikon D7200 and the Sony A6300 got at the same sensitivity setting. The Canon does a good job of holding its resolving power as sensitivity increases, with 2725 lines at ISO 1600 and 2560 at ISO 6400. After that point, resolution drops faster: to 2100 lines at the camera’s top normal sensitivity of ISO 16,000 and 1950 at the top expanded setting of ISO 25,600.

In our noise test using DxO Analyzer 6.1, the 80D earned our highest rating of Extremely Low at its lowest two ISO settings and kept noise to a Low or better rating up to ISO 1600. This was the limiting factor in its image quality range. Above ISO 1600, its noise amplifies more quickly, reaching an Unacceptable rating at ISO 6400. To its credit, though, the 80D doesn’t become tremendously noisy even at its highest sensitivity.

However, it didn’t suppress noise quite as well as its rivals, for the most part. Nikon’s D7200 kept noise to an Extremely Low rating through ISO 400, earned a Low or better rating up to ISO 1600, and didn’t reach Unacceptable until ISO 25,600. (At that high ISO, the Canon outperformed it with a lower standard deviation of 3.7 versus 4.) Sony’s A6300 also garnered an Extremely Low rating only at ISO 100, but it maintained a Low or better rating up to ISO 3200, reaching Unacceptable at ISO 25,600 with a 3.6.

What does all this add up to? All three cameras do a wonderful job of delivering clean, detailed images at lower and mid-level ISOs. It becomes a bit of an exercise in splitting hairs to compare them, though Nikon has a bit of an edge when it comes to taming noise. Canon deserves credit for being able to increase resolution over its earlier 70D while maintaining its impressive noise control.

Our autofocus test showed extremely fast results from the brightest portions of our test all the way down to the dim conditions equivalent to a moonlit field. At EV12, the brightest level in our test, the 80D locked focus and captured an image in 0.35 sec. It didn’t drop below half a second until EV 2. Thereafter, it slowed to 0.72 second at EV 0, but it didn’t end up over a second until EV -2. Canon rates the system to function down to EV –3, but due to equipment limitations we only test down to EV –2.

In the Field

The 80D’s body design is very similar to that of the 70D, which was itself very similar to the popular 60D of a few years back. The nice, large grip feels secure in the hand whether held up to your eye or down at your side and gives plenty of room for your fingers. The four buttons next to the top LCD status display give you quick access to AF, drive mode, ISO, and metering. Thanks to a tiny raised dot on the ISO button, you can easily find that one while shooting and orient yourself to easily pick out any of the other three. With a little practice we were changing those settings quite quickly.

Dual command wheels let you independently adjust both aperture and shutter speed in manual mode. When in aperture or shutter priority, the back wheel gives direct access to exposure compensation. The Q button on the back leads you to the quick menu where you can change the most important settings on a dashboard-style display. While there aren’t a whole lot of customizable buttons on the 80D, we weren’t left wanting many since the control system is quite well thought out.

The latest version of Canon’s Dual Pixel CMOS AF functioned well for us. It can be set to focus slightly faster than the 70D did and can be slowed to your choice of seven slower speeds for dramatic effect. While Canon’s new EF-S 18–135mm f/3.5–5.6 IS USM kit zoom or any of its STM lenses will provide near-silent focusing, older Canon EF glass also works well with the imager based focusing system. For amateur video shooters, it’s a great way to shift focus. Plus, it’ll work with face detection to keep focus on the person in your scene if you want.

The footage we shot looked very nice. Colors appear accurate and there’s plenty of detail. We noticed little in the way of artifacts and saw only a minor amount of jello effect in very fast-moving subjects.

While the burst speed didn’t get an upgrade, 7 fps is plenty fast for most situations and should be more than enough to capture, say, your progeny on the lacrosse field. The buffer depth now allows up to 110 JPEGs, compared with the 70D’s 65, or up to 25 RAW images versus 16 with the 70D. This puts burst shooting ahead of the D7200’s 100 JPEGs or 18 RAWs at 6 fps. The A6300 eclipses both of these with 11 fps, but it can hold only 45 JPEGs or 21 RAW shots before the buffer fills.

The Bottom Line

If you’re looking for a DSLR with an APS-C sensor, the 80D is an excellent choice. It competes well against its main competitor, Nikon’s D7200. These two are so close in performance that it’s difficult to declare one a winner over the other. Plus, both systems have a more-than-ample selection of glass available from their respective manufacturers as well as third-party lens and accessory makers. We also compared it to Sony’s A6300 since it sells for a similar price and also uses an APS-C sensor. But this ILC’s body is significantly smaller than the 80D. This can be an advantage with smaller prime or zoom lenses, but with larger glass, a bigger body can provide a more balanced feel.

Even as hyperbolic voices claim that the end of the DSLR era is nigh, shooting with the very pleasantly mature technology of the Canon EOS 80D reminds us just how good it can be to photograph with a body that works so well with really nice lenses. Even better? It won’t break the bank.

Specifications

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For more than 39 years Mr. Kalinsky has had the privledge of being the official photographer of the world’s mot famous arena. He publshed 10 books along the way, including his most recent Garden of Dreams. Kalinsky and his crew of photographers have the advantage of a bevy of strobes mounted throughout the arena triggered wirelessly using PocketWizards. The editors had to boost their ISO to get the shutter speeds necessary to capture the action. Luckily, Canon brought along some 50D bodies, along with EF 24-70mm f/2.8L and EF 70-200mm f/2.8L lenses.

Per Mr. Kalinsky’s suggestion, we shot at ISO 2000 and f/2.8. The combination yields images that isolate the particular players we focused on and have very little noise while also allowing fast enough shutter speeds to stop the action on the court. In a couple of the shots, you can see the cameras that MSG has mounted behind the glass of the backboards. Like the strobes Kalinsky’s team uses, these are triggered by PocketWizards.

The post Shooting the Knicks appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.