We've been shooting with Sony's Alpha 7 and Alpha 7R over the past few weeks to get insight into how the compact full-frame cameras behave. While the two models are twins, they're by no means identical, with each sibling very quickly showing its own, distinct personality. We'll be publishing more in the coming weeks as we move towards completing our review, but we wanted to share our perspective now that we've had some experience to inform our opinion.
Nikon has announces the Df, which combines the design and controls from its classic film cameras with the modern technology of a digital SLR. The Df's body resembles that of Nikon's F-series 35mm cameras, complete with dials for shutter speed, aperture, and exposure compensation. Inside, the Df borrows the full-frame CMOS sensor from the D4 and the autofocus system from the D610. One thing you won't find on the Df is a movie mode.
The Df will be available in your choice of silver/black or black starting in late November, for a price of $2749 (body only) or $2999 / £2749 (with 50mm F1.8 lens).
Here are a handful of sample images with EXIF intact from the new Nikon AF-S NIKKOR 58mm f/1.4G lens. I’ll update this post with some thoughts as well as some RAW files for you to download in the next couple of days.
Since 2005 I have used a Canon EF 16-35 2.8L USM as my only wide angle lens. I have been very happy with this lens, using it on a 20D, 5D, 5D Mark II and now on the 5D Mark III. The 16-35 is a good performer and very versatile. So why even consider other options. Well first of all; Who wouldn't want a new lens if it performs better and fits into a kit and budget. The lens makers have released plenty of options since 2005 with a list too long to mention here. I have rented the EF 35 1.4L and EF 24 1.4L II a few times and have been happy with these as well but not found enough reason to permanently add them to my kit. Adding to the mix I started shooting the APS-C format Fujifilm X-Pro1 about 18 months ago and have been very pleased having the option to travel lighter and still maintain great image quality. The question now, as I am sure many other photographers are asking them selves, do I build on the Fuji system or should I mainly stick with my full frame SLR option when it comes to wide angle lenses? The Fuji XF 14mm 2.8 R came out in the beginning of the year and many positive reviews have rolled in since. About a week ago I had a chance to try it out and I also took the Zeiss Distagon 12mm 2.8 T* out for a quick spin. Please note this is not a pixel peeping analyses but just a quick take......
Via Thomas Menk
Nikon has announced the AF-S Nikkor 58mm f/1.4G, a premium standard prime for full frame SLRs that's designed to deliver the best possible images, even at maximum aperture. It's highly corrected for coma, meaning that point light sources are rendered correctly right across the frame, and is specifically designed to give an attractive rendition of out-of-focus regions of the image. It can also be used on Nikon's DX format SLRs, on which it will behave like a classic 85mm 'portrait' lens. This all comes with a hefty price tag, though; $1699.95 / £1599.99. It'll be on sale in selected retailers at the end of this month.
Well, this is a pleasant surprise! Unless you already know this because you've been reading the rumour sites you'll be pleased to learn that Sony has just (Oct, 16, 2013) thrown the camera industry a bit of an aggressive curveball with the introduction of the Alpha 7 and Alpha 7R. An also new and fascinating compact, the RX10 was also introduced today.
I was able to spend a few days in early October with an A7R, and this is a brief hands-on report. The camera was pre-production and I had no raw software available, so I won't be commenting in any detail on image quality. But, given Sony's past excellence in sensor design there's little reason to imagine that it will be anything other than first-rate. It certainly appears to be, based on my informal testing so far.
Sony's new A7 and A7R bring full-frame imaging to the company's mirrorless ILC lineup, using the established E-mount. While they're not quite the 'full-frame NEX' that some loyal Sony users might have been imagining, the 24MP A7 and 36MP A7R are impressive, innovative products that demand to be taken seriously (with a price-point to match). We've had the opportunity to use pre-production samples of both new models, and we've prepared a hands-on first impressions review covering off their key features, operation, and early indications of their performance. Click the links below to read more.
The 24MP D610 is Nikon's latest enthusiast-targeted full-frame DSLR. Coming fairly hot on the heels of the D600, the 610 gains a new shutter mechanism, which is responsible for two out of the camera's three new features. We've had the chance to handle the D610 and have prepared a first impressions review of the refreshed enthusiast full framer.
The first consumer point-and-shoots didn't have art effect modes or face detection smile-shutters. They looked like the Kodak 1 pictured above, a leather-encased box with a key to wind the film, shutter release and not much else. Introduced to the public in 1888, each Kodak 1 contained a roll of film with 100 exposures. Once they'd all been used, the owner sent the entire camera to Kodak for processing and re-loading. Images came back as 65mm round negatives, partially in order to hide distortion at the corners of the images.
The UK's National Media Museum owns a collection of prints from these first consumer 'compacts.' Taking a look through a set of the images is an interesting study in what was deemed photo-worthy at the time. Rather than the stiff portraits that earlier cameras demanded with their long exposure times, these snapshots offer a glimpse into a slightly more relaxed everyday existence at the dawn of popular photography. Click through the slideshow to see some of our favorites, and check out the full set of images on the National Media Musem's Flickr.
At photokina 2012 Sigma announced a new "Global Vision", which divides their lens portfolio into 3 categories: "Contemporary", "Art" and "Sports". These product lines don't apply to existing Sigma lenses, but any newly developed lens will be assigned to one of them, giving a rough guidance about the intended purpose of a lens.
The first lens that carries the "Art" tag is the 35mm f/1.4 DG. Sigma already has some experience in building fast prime lenses, a market segment that has not seen much contribution from 3rd party suppliers in the past. Just like their other full frame primes, the EX 50/1.4 and the EX 85/1.4, the new Art lens competes with the original manufacturer's products. Since we're looking at the EF-mount version of the Sigma lens here, the direct competitor is obviously Canon' own EF 35mm f/1.4, a highly regarded lens, but also a rather expensive one. Retailing at just more then half the price of the Canon, Sigma now offers a more affordable option to Canon shooters but is it also as good ... or even better ?
Tonight Nikon will announce the “revolutionary” Nikon DF Camera. By “revolutionary” I mean that they have taken a full frame sensor from a current digital DSLR and put it into a non-ergonomic retro body and removed many features, including video. Are we excited about this camera because of the photography we will be able to capture with it or are we excited because we will look trendy and fashionable holding it?
With a rugged, weather-sealed body, hybrid AF system, 5-axis image stabilization, Wi-Fi, and seemingly endless customizable controls, the Olympus E-M1 is arguably the most enthusiast-friendly Micro Four Thirds camera on the market. We've put Olympus' latest OM-D through our usual battery of tests - click the link below to see if the 'Pro' Micro Four Thirds camera has finally arrived.
Sigma has announced the 24-105mm F4 DG OS HSM - an image stabilized normal zoom for full frame DSLRs. The 24-105 becomes the latest addition to the company's 'Art' series of lenses designed to offer high image quality. The lens features a 19 element/14 group design including Sigma's FLD glass and both single- and double-sided aspherical elements which the company says will minimize aberrations. It has a minimum focusing distance of 45cm throughout its range, giving a maximum magnification of 1:4.6. Prices and availability have yet to be announced.
Ricoh has announced the Pentax K-3 - a 24 megapixel enthusiast APS-C DSLR. In addition to the higher pixel count, the range-topping camera gains a 27-point autofocus system and a more advanced 86,000 pixel metering sensor, compared with the K-5 II. Rather than offering versions with an without an optical low-pass filter, the company has found a way to selectively use the image stabilization system to mimic its effect. It also offers twin SD card slots and USB 3.0 connection.
We've been shooting with the Olympus PEN E-P5 for some months now and have now completed our review. The arrival of the E-M1 may have grabbed the limelight in recent weeks but the latest PEN deserves its share of the attention. Although it continues the classic PEN look, it shares most of its specifications with the E-M5, which should make it pretty competitive - but what's it like to use?
And, just as importantly, what's all this talk about 'shutter shock'?
I’d like to apologize in advance: if you were hoping not to feel the urge to part with some of your money, I don’t think this review will be much help. As I told my buddy Morten Byskov in an email when I first got my hands on this lens: damn. When I originally reviewed the X-Pro1 I defined it as something that was clearly “part of a system”, as a camera that by its very nature felt much less intimate than the X100 (the only other X camera at the time). Much has changed since I wrote that review: more X bodies have appeared, the entire ecosystem has exploded with stellar Fuji offerings as well as Zeiss and other third-party lenses added to the mix for good measure; it’s rather phenomenal when you think about it — it hasn’t been that long. But while I came to love the X-Pro1 just as much as the X100 — albeit for different reasons — it still always felt like an extremely refined cog in an ever evolving system. Until now. With the introduction of the XF 23mm f1.4 R lens (B&H), Fuji finally brings the long-awaited 35mm field of view to the X-series, something that was previously only available with an X100/S or via an adapted lens. We could certainly argue about the why’s of such a long delay for an indisputably classic focal length — marketing conspiracies et all — but I doubt anyone will be faulting the execution: saying this was worth the wait is a serious understatement There are many intangibles about using a camera, the way it sits in our hands, how different pieces come together and fall into place. At the risk of sounding way too hyperbolic, here’s the short version of this review: I feel as though the X-Pro1 has just found its long lost sibling – The balance, the size, the weight, the focusing, the build… Everything about this lens feels exactly right to me. Soul mates, baby.....