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Fujifilm has announced that the highly anticipated, 51.4MP GFX 50S medium format mirrorless camera will be shipping in late February for US$6499.
To go with it, Fujifilm has also announced three new lenses. They are:
GF 63mm f/2.8R WR, equivalent to 50mm when mounted on the GFX50S. It is sealed from dust and moisture, as are the other two lenses announced.) It will be available from February at US$1499.
GF 32-64mm f/4R LM WR, a lightweight general-purpose zoom lens with an equivalency of 25-51mm and has aspherical ED and super ED elements. It will cost US$2299.
Finally, the GF 120mm f/4 R LM OIS WR Macro, a macro lens equivalent to 90mm featuring optical image stabilisation of up to 5 stops. It has 3 ED elements and a minimum focussing distance of 45cm/18in. It’s priced at US$2699.
Three new lenses will be announced by the end of the year—a 23mm f/4, 45mm f/2.8 and 1100mm f/2.
Leica announced their new M-series digital rangefinder today, the M10, featuring a slimmer body. I’ve always felt that the other M bodies have been rather thick compared to other cameras, so in a way, we can say that the M’s diet has finally worked. Being no stranger to marketing spiels, Leica dubs the M10 a camera that “embodies the essence of photography like no other camera before,” Leica says. It seems that every Leica body features some sort of essence of photography in one way or another, so I wonder what really is the difference.
Being rather outdated in terms of technology by now, Leica brings the M10 slightly more up-to-date with the addition of WiFi—a first in the M series—allowing you to transfer images to your mobile device. An ISO dial has also been added to the top plate, allowing you to adjust your ISO setting without having to go through a menu system.
The rangefinder on the M10 is now improved, with a 30% increase in the field of view and the magnification has been increased to 0.73x (up from 0.68x.) The eyepoint is now 50% farther, making it much easier for specs-wearing shooters.
To be on the same level as their competitors, Leica has incorporated a new 24MP full-frame CMOS sensor with better dynamic range, sharpness, resolution and contrast in the M10. ISO range is now expanded, allowing photographers to shoot from ISO 200 through 50,000.
With a price tag of US$6595, your wallet will definitely be slim! You can pre-order one starting right this moment.
Seven years ago, Fujifilm released the X100, a retro-looking rangefinder-style digital camera that won the hearts of many photographers with its excellent out-of-camera image quality. It especially appealed to street photographers wanting a digital rangefinder but doesn’t want to pay the ridiculous premium for a Leica M system. The X100 featured a revolutionary hybrid viewfinder, giving the advantages of an optical as well as an electronic viewfinder. The X100 has since gone through a series of upgrades, with the S and T models, but while each offered noticeable improvements over the previous, particularly in the AF speed, the 16MP sensor is getting a bit long in the tooth compared to the likes of the X-T2 and X-Pro 2, as well as the competitors.
Today, Fujifilm announced the forth generation of the X100, named the X100F. Following the X-Pro 2 and X-T2, the X100F uses the same 24.3MP X-Trans III CMOS image sensor and the X-Processor Pro, so image quality should be on-par. Fujifilm has increased the number of AF points on the X100F from 49 to 91, and improved the AF acquisition time to just 0.08s.
Like the X-Pro 2 and X-T2, the X100F has a joystick at the rear of the camera for controlling the AF point’s position, It has also taken on the style of the X-Pro 2’s combination shutter speed + ISO dial. Other minor tweaks include moving controls over to the right side of the camera for easier one-handed operation, and the addition of a front control dial. The hybrid viewfinder now offers image magnification when using the EVF mode. Also new to the X100F is the addition of the new ACROS film simulation mode for B&W lovers.
The X100F will be available from February 16th in black or silver for US$1299. Maybe there will be a graphite edition in future too, who knows?
Fujifilm has also released the X-T20, an update to the X-T10 released in 2015. Just as the X-T10 was the “little brother” of the X-T1, the X-T20 is a baby X-T2. There is no weather-sealing unlike the X-T2, but it still retains several of the X-T2’s features. This includes the same 24.3MP sensor and X-Processor Pro image processor, advanced AF and 4K video shooting. One feature that the X-T20 has that the X-T2 doesn’t is a touchscreen which works in stills, video and playback modes. It also has a joystick control and a pop-up flash. The EVF however, only has a magnification of 0.62x (0.77x on the X-T2.) Just like their other newly released cameras, Fujifilm has added the ACROS film simulation mode to the X-T20 as well.
The X-T20 will be available from late February 2017 at a cost of US$900 for the body alone, bundled together with the XC 16-50mm f/3.5-5.6 OIS lens for US$1000 and with the XF 18-55mm f/2.8-4 OIS for US$1200.
XF 50mm f/2 WR
Alongside the two new cameras, Fujifilm has added a new member to their weather-resistant (WR) line of lenses with the XF 50mm f/2 WR. Like the XF 35mm f/2 and XF 24mm f/2, the XF 50mm f/2 is a compact, lightweight and reasonably fast prime lens weighing just 200g. It offers dust and water resistance and is freezeproof to -10ºC.
On the Fujifilm APS-C cameras, it offers a 35mm equivalent of 76mm at f/2, making it an excellent lens for portraiture. It consists of 9 elements in 7 groups, and has one aspherical ED element. Autofocus is via a stepping motor.
The lens is available in February for around US$450 and is available in either black or silver.
Just like they’ve done for the X-T1, Fujifilm has applied the graphite treatment to their two latest cameras—the X-T2 and X-Pro 2. The graphite X-Pro 2 will also come with a matching XF 23mm f/2 WR lens. With a more silvery finish, the new X-T2’s colour is appropriately called “Graphite Silver”.
Both will ship in late January for US$2299 (X-Pro 2) and US$1799 (X-T2).
Originally teased at Photokina, Panasonic has finally launched the Lumix DC GH5 during CES 2017. The camera has a 20.3MP Live CMOS sensor without an optical low-pass filter and an upgraded Venus Engine processor that claims to cut noise by 2 stops.
The EVF has been upgraded as well. It now has a resolution of 3.68M dots and 0.76x magnification (compared to 2.36M dots and 0.67x on the GH4.) It also has dual UHS-II SD slots, full-sized HDMI port and a fully articulating 3.2″ touchscreen LCD with 1.62M dots. it also has a 5-axis in-body image stabilisation with support for Dual IS 2.
The GH5 can capture 4K 60p and 50p using the full sensor with no cropping at 150Mbps. At 4K30P, you can get 10-bit 4:2:2 colour.
The GH5 will be available at US$2000 at the end of March.
Panasonic has announced the GX850—also known as the GX800 and GF9 in depending on the market (Seriously now, what’s with all these regional namings?) It is the smallest Panasonic camera to boast both 4K/30P video and a 4K Photo mode.
The camera is reminiscent of the super compact GM line and has a 16MP Live MOS sensor with no low-pass filter. This, in Panasonic’s words, delivers “crisp, high-resolution images in fine details with high-contrast, [and] impressive color reproduction.”
The GX850/GF9/GX800 also has a 3″ LCD with 1.04M dots which is able to flip 180º, perfect for selfie/wefie lovers out there. Photos are stored on a microSD card.
The camera will be available from February for US$550 bundled with a Lumix G Vario 12-32mm f/3.5-5.6 lens. It is available in black or silver.
Panasonic Lumix DMC-FZ80
Like the GX850/GF9/GX800, the FZ80 also has multiple names depending on the region, it being called the FZ82 in some markets. The camera does 4K video and features a 60X zoom lens covering 20-1200mm with a variable aperture of f/2.8-5.9.
Other than shooting 4K video at 30fps, you can also shoot 120fps at 1280×720, or 240fps at 640×480. If you shoot 4K, you can shoot up to 15 minutes at any one time.
Canon has announced an update to the G9 X released in Oct 2015. The Mark II model uses the same 20MP CMOS sensor, 28-80mm equivalent lens and 3″ touchscreen LCD. However, the image stabilisation has been improved to give up to 3.5 stops of vibration reduction, and the burst shooting rate has been upgraded to 8.2fps (an 1fps increase from the Mark 1).
The camera will be released in February in black or silver/brown for US$530.
Architectural photographers using the Nikon system rejoice! Nikon has announced the PC Nikkor 19mm f/4E tilt-shift lens. For a long time, the ultra-wide tilt-shift lens market was dominated by Canons 17mm TSE while Nikon’s widest goes only up to 24mm.
The PC Nikkor 19mm f/4E offers a 97º field of view and can shift ±12mm and tilt ±7.5°. It contains three ED and two aspherical elements, and unlike the previous PC lens designs, the tilt and shift mechanisms can be adjusted independently from each other. This allows photographers to set the tilt either parallel or perpendicular to the shift.
The lens will be available from next month at US$3399.95.
AF-S Nikkor 70-200mm F2.8E FL ED VR
Nikon has also released an update to their 70-200mm workhorse lens with a new optical design, improved vibration reduction as well as an electromagnetic diaphram.
The lens has 6 ED, 1 fluorite and 1 high refractive index element, and a Nano Crystal Coat reduces flare and ghosting. The front and rear elements are fluorine-coated to prevent smudging. The newly improved VR gives a 4-stop advantage compared to 3.5 in the previous model.
The lens will be available next month at US$2799.95.
Not to be left behind, Olympus at Photokina announced two new cameras and three new lenses. The first is the E-PL8, an entry-level mirrorless camera with a Four Thirds sensor. This is basically an upgrade to the E-PL7, with a redesign to the body, along with a new grip and top plate. Like its predecessor, it features a 16MP sensor and in-body image stabilisation. The camera will be available at US$549.99 for the body, and US$649.99 for the 14-42 IIR kit.
Like Panasonic, Olympus has also announced the development of a new flagship—the OM-D EM1 II. The new camera has a 20MP sensor and is able to shoot at up to 18fps in RAW with AF, or at up to 60fps in RAW without AF.
Olympus says that they have spent 4 years developing the new flagship camera, and the dynamic range and noise performance have been improved. The EM-1 II has 121 cross-type AF points, spread over a wider area than the predecessor. The AF system is completely new and improved in terms of performance, precision and operation. The camera can shoot 4K DCI video at a bit rate of up to 236Mbps.
Finally, Olympus has announced three new lenses: M.Zuiko Digital ED 25mm f/1.2 Pro, M-Zuiko Digital ED 12-100mm f/4 IS Pro and M.Zuiko Digital ED 30mm f/3.5 Macro.
The M.Zuiko Digital ED 25mm f/1.2 Pro gives an equivalent of 50mm, and is splash and dust proof. This is Olympus’s attempt at making a “perfect” lens, which promises high resolution wide-open, fast AF and well-controlled chromatic aberration. The lens will be available from October from US$1,199.99.
The M-Zuiko Digital ED 12-100mm f/4 IS Pro is an all-round zoom, with a 35mm equivalent of 24-200mm. Used with the 5-axis IBIS of supported Olympus bodies, it offers up to 6.5 stops of image stabilisation. Minimum focus distance at the 12mm end is a mere 1.5cm and 27cm at the telephoto end. It is splash, dust and freeze proof, and will be available from November at US$1299.99.
Last but not least, the M.Zuiko Digital ED 30mm f/3.5 Macro is an affordable macro lens with a magnification of 1.25x. It will cost US$299.99 from October 2016.
Perhaps the most exciting camera announced at Photokina is Fuji’s GFX 50S. This is a medium format, mirrorless digital camera built around a new series of “G” mount lenses that includes both primes and zooms. It has a 51.4MP CMOS sensor similar to the ones in the Pentax 645Z and the Hasselblad X1D. The camera looks somewhat like a large X-Pro II, and with the clip-on EVF, it looks like a large X-T1/X-T2. At 43.8×32.9mm, the sensor area is 1.7X larger than full-frame 35mm sensors, and 4X greater than Fujifilm’s APS-C cameras. The large sensor and pixel count allows the camera to shoot at various different aspect ratios.
Six lenses have been announced to go with the GFX 50S. They are:-
Standard prime “GF63mmF2.8 R WR” (equivalent to 50mm in the 35mm format)
Wide-angle standard zoom “GF32-64mmF4 R LM WR” (equivalent to 25-51mm in 35mm format)
Mid-telephoto macro 1:0.5 “GF120mmF4 Macro R LM OIS WR” (equivalent to 95mm in 35mm format)
Fast aperture mid-telephoto “GF110mmF2 R LM WR” (equivalent to 87mm in 35mm format)
Ultra-wide “GF23mmF4 R LM WR” (equivalent to 18mm in 35mm format)
Wide “GF45mmF2.8 R WR” (equivalent to 35mm in 35mm format)
Fujifilm says the camera will be available in the first half of 2017 at “under $10K” with the 63mm lens.