"I am working with a modified Nikon D800 which has been altered so that it is now a true monochrome camera: no RGB filter array (removed), and of course no anti-aliasing filter. 36 megapixels that “see” in monochrome."
There is one camera company that is really getting noticed these days, and that is Fuji. They seem unstoppable as they continually are releasing new cameras and lens at a very fast pace. They stand apart with their APS-C X-Trans CMOS II sensor. It all started with the X100 and since that introduction Fuji has followed with numerous other X branded cameras. Not forgetting where their roots are they released the next generation X100s a few months ago. This little camera has a huge following and if there is a camera that has done retro right it is the X100s. Alain Briot a regular contributor here on Luminous-Landscape switches gears from his regular essays and does a Camera Review Of The X100s.
Two products that have been getting a lot of attention lately are the Sony a7 and a7R full-frame mirrorless cameras. Last month we took an in-depth look at the Alpha 7, and were mostly pleased with how it turned out. Now it's time to take a look at its big brother, the Alpha 7R, which offers a 36 megapixel sensor with no low-pass filter and a more conventional autofocus system. Is the a7R worth the price premium over the a7? Click below to find out.
Lately Sigma had quite a run in delivering very decent products not only in terms of value but also optical & mechanical quality as well as improved quality control. The transformation of their product lineup is still at the beginning but they are busy executing their new product vision. One of their latest products in the Sigma 24-105mm f/4 HSM DG OS | A. As the name implies it is part of the "Art" series thus their most prestigious segment of lenses. In Canon land, it is obviously targeting the (rathe Canon EF 24-105mm f/4 USM L IS which has been the 1st choice among customers looking for a high quality, full format standard zoom lenses with a slightly longer reach. Interestingly the Sigma lens is just marginally more affordable than its Canon counterpart. This trend certainly shows that Sigma is getting more confident about its products compared to high end products from original manufacturers.
We are big fans of CamRanger, while other options have been around for a while (both DIY and pro) they came up with a well packed product for camera remote control that has all the features you can possibly think about.
I would like to share with you my long term experience of using the Samsung NX200 CSC camera. I've been using this camera for 15 months (until I got NX300). I took many images which I am very happy with. So here is the article with my personal experience and gallery.
In a recent interview with 2how.com, Fujifilm's manager Mr.Kawahara said that for now there are no plans for a full frame camera because that will require a new line of lenses (the current XF lenses will not cover a full frame sensor).
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?
We take a look at Fujifilm's latest X-series camera - the X-T1. It's an eagerly anticipated mirrorless camera but is it as good as people expect it to be or has it fallen short of the mark? Kai takes it out on the streets for a test......
Following its cloaked appearance in a teaser ad last week (and then a comprehensive leak), the Fujifilm X-T1 makes its official debut. It's a weather-resistant, SLR-styled mirrorless camera bearing Fuji's 16MP X-Trans CMOS II sensor, borrowed from its X-E2 sibling. Its built-in 2.36M dot EVF is similar to that of the XE-2, though it boasts a higher 0.77x equivalent magnification and claimed lag time of 0.005 seconds. Also included is built-in Wi-Fi, now with remote capture, and a tilting 3.0-inch LCD.
With the latest addition to Nikon’s popular F1.8 prime series of FX-format lenses, Nikon has announced the new AF-S NIKKOR 35mm F1.8G, a versatile fixed lens ready to thrive in any shooting situation. The new 35mm F1.8G lens rounds out a collection of acclaimed F1.8 lenses including the AF-S NIKKOR 28mm F1.8G, AF-S NIKKOR 50mm F1.8G and AF-S NIKKOR 85mm F1.8G lenses. Sporting the popular 35mm focal length and covering a 63 degree angle of view with a constant F1.8 aperture, Nikon’s newest FX-format lens delivers outstanding viewfinder clarity and high contrast while providing outstanding low-light performance and depth of field control.
Great for available light environment portraits, landscapes and travel photography as well as for producing beautiful images with soft, natural bokeh, the AF-S NIKKOR 35mm F1.8G is a versatile and valuable addition to any FX-format photographer’s lens arsenal and sports the latest in core NIKKOR technologies that ensure elite performance. The lens’ construction includes one ED and one aspheric element in addition to a Silent Wave Motor to provide quiet AF operation.
"As the latest addition to the extensive NIKKOR lens line-up, the new AF-S NIKKOR 35mm F1.8G lens reinforces Nikon's commitment to providing versatile prime lens options to photographers of all levels," said Masahiro Horie, Director of Marketing and Planning, Nikon Inc.
SLR Magic is an interesting young chinese lens brand. They are manufacturing manual focus lenses for various mounts including Micro-Four-Thirds and Sony NEX. So far most of their lenses were found on the cheaper end of the food chain but they are keen of delivering more prestigious products. One of their latest releases is the Hyperprime LM 50mm T/0.95, which is ambitious in two ways: it's their first lens to feature a Leica M mount with rangefinder coupling, and it obviously targets and competes with the "king" of that eco system, the Leica Noctilux 50mm f/0.95 ASPH.
Interestingly, SLR Magic provides a T-number in the lens name instead of a f-number. The T-number refers to the effective light transmission characteristic rather than the calculated f-number of the lens. Since a small amount of light is lost in transmission, the T-number is always a tad slower than the f-number. Or, in other words: the f-number of the lens is even faster than T/0.95, according to SLR Magic it is around f/0.92.
The Hyperprime 50mm T/0.95 is a build-to-order product, which is available in two different versions. There is the LM version, which features an M-mount with rangefinder coupling and thus is fully functional on any Leica M camera. This version of the lens currently retails for $4995. The CINE version of the lens features identical optics, but no rangefinder coupling. It's targeted at videographers and users of mirrorless cameras (including full frame cameras like the Sony A7/A7r), which intend to use adapted M-mount lenses. Retailing at $2995, it is considerably cheaper, but due to the lack of coupling not usable on most Leica M cameras (with the exception of the latest M 240, which features a live view mode).
SLR Magic is still a very small company with a limited distribution (& service) network. Their products can be primarily ordered via their website.
To avoid some confusion: SLR Magic offers another 50mm f/0.95 lens, which they aquired together with the Noktor brand. The former Noktor lens is also called Hyperprime now, but it is a completely different design for APS-C and smaller sensors, available in MFT- and E-mount (Sony NEX) and completely unrelated to the full frame LM/CINE lens which is reviewed here.
Mark Rober is no stranger to bullet time rigs, in fact he is the smarts behind this clever rotating bullet time rig that we featured a while back. But this time he is taking it to the next step - onto 20,000 frames per second.
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).