****** New Technology Update ***** New cameras from most manufactures *******
*******New Technology update******
New Nikon D5 DSLR:
Nikon shooters have been waiting on an update to the flagship D4s DSLR for a while, and now it’s here in the form of the very powerful D5 DSLR.
At its heart, the D5 is equipped with a brand new 20.8-megapixel sensor that’s coupled with Nikon’s new Expeed 5 image processor. Together, they’re capable of capturing images up to ISO 3,280,000. Yeah, three million.
It’s capable of 12 frames per second with AF thanks to a revamped autofocus system that has 153 total AF points, 99 of which are cross-type. This is a major talking point for Nikon, especially how it exceeds the capabilities of mirrorless.
The screen on the back of the camera is a 3.2-inch touchscreen with 2.36 million dots of resolution, which should be a decided upgrade, especially when it comes to video capture.
As you might expect, the camera also now shoots 4K video.
The camera is being announced live right now, so we'll update with more details and some hands-on impressions as soon as possible.
The professional-grade DSLR category is at a pretty critical juncture right now. Mirrorless cameras, and to a much greater extent, smartphones are closing in on just about every other segment of the camera market, which means the flagship cameras for pro photographers are increasingly important. Today, Canon has a new king to sit in the throne above the rest of their DSLRs in the form of the 1D X Mark II, and it puts a clear emphasis on its status as a true hybrid camera for shooting both stills and video.
The heart of the camera is a brand new 20.2-megapixel sensor, which leaves the high-res, studio stuff to the 50-megapixel 5DS. Coupled with the sensor is a pair of brand new Digic 6+ image processors, giving it more processing power than any Canon DSLR to come before it. As a result, it’s capable of moving massive amounts of data through its internal pipes. It can capture 14 frames per second with AF and AE enabled, and that number goes even higher to 16 fps in Live View mode. It can keep going up to 170 Raw files, or until it hits the capacity of the memory card if you’re shooting JPEGs. That’s a lot of pictures.
The sensor uses Canon’s Dual Pixel CMOS for autofocus, which is something we have been waiting to see in a high-end Canon DSLR for some time. The traditional autofocus system is a revamped 61 point affair, with 41 cross-type points among them. All of the points are now compatible with lenses as slow as F/8, which actually comes into play pretty regularly for photographers who tend to use very long lenses coupled with tele-extenders.
Unlike the Nikon D5 that we first met back at CES 2016, there’s not a huge push in terms of mega-high ISOs. The native ISO range goes from 100-51,200, and is expandable to 409,600. The Nikon expands all the way to 3,280,000, which is three more stops, but we won’t know exactly how much of a difference that makes until we have seen exactly how both cameras perform. As we all know, maximum ISO isn’t nearly a big a deal as maximum usable ISO.
The other big news out of the 1D X Mark II is the fact that it can capture 4K video at up to 60 fps directly to the CFast memory card (It has a total of two memory card slots—the other is a standard CF slot). As a result, it can employ what Canon is calling 4K Frame Grab mode, which pulls an 8.8-megapixel still image out of a 4K video.
Beyond the flashy headline-grabbing features, there’s a number of other important updates that may not sound quite as exciting. The metering sensor is a 360,000 pixel RGB+IR chip that claims vastly improved tracking and facial recognition. The metering system can even recognize a flickering light source like the ones sometimes used in gymnasiums and compensates for it. AF sensitivity has been upgraded and now operates down to -3 EV compared to -2 EV on the original 1D X. Battery life has also been tweaked to offer more shots on a single charge.
As you would expect for a camera like this, the body is still built like a magnesium alloy tank
The 1D X Mark II is due to start hitting stores in April for $5,999. That’s cheaper than the initial retail price on the original 1D X and a few hundred dollars cheaper than Nikon’s D5, which is really its main competition. If you want the 1D X package that comes with a 64 GB CFast card (which you’ll need if you want to shoot 4K video), the price jumps $300 up to $6,299.
In the July 1963 issue of Popular Photography senior editor Norman Rothschild wrote about his experience using the newly announced Olympus Pen-F while in Cologne, Germany for the Photokina tradeshow. It was the world’s first half-frame 35mm body, making vertical images that were approximately half the width of a horizontal 35mm frame. As a result, it produced vertically oriented images when the camera was held in its regular horizontal orientation. While Olympus didn’t opt to rotate the sensor in the new digital Pen-F, the main idea behind the two cameras remains the same: Make a camera that is easy and fun to use while being small enough that you won’t mind bringing it along with you wherever you go. And the price of the new Pen-F, at $1,200, isn't all that much more than the $917.50 that the original $120 price becomes when adjusted for inflation. I had the opportunity to use an early sample of the Pen-F in Austin, TX on a junket that Olympus arranged.
The Pen-F is the first Olympus digital camera in the Pen series to have a built-in viewfinder, which shows that the company is aiming for shooters who want a higher level of shooting experience than a finderless camera can provide. The Olympus representatives we spoke with said that they hope street shooters will cotton to the camera’s comfortable control system, small size, and speedy AF. In our time with the camera, we mainly shot with prime lenses, especially the 17mm f/1.8, 25mm f/1.8 and 45mm f/1.8. Those lenses, were able to focus quite fast, as did the zoom lenses we shot with only briefly. While older zoom lenses had a tendency to slow down AF thanks to the large glass element that they had to move in order to focus, most of Olympus’s Micro Four Thirds lenses use smaller focusing groups to keep the focusing pleasingly zippy. Street shooters who actually use AF (both of you please raise your hands) should be pleased.
The shutter release button is embedded within the front command wheel to save space, but more importantly, it has a socket for an inexpensive, screw-in cable release. Again, this can be seen as a nod to some street shooters who use a cable release to remain less noticeable when out shooting. It also makes for an easy way to trigger longer exposures, or the High Res shot mode that shoots 8 images as the sensor shift stabilization mechanism moves the sensor and combines them into one in order to increase the resolution in the resulting file. You can make 80MP images from RAW files in this way, but you’ll want to stabilize the camera on a tripod and shoot a subject that also isn’t moving as the camera captures the 8 frame burst. If you want a JPG from HIgh Res mode, you’ll get a 50MP file.
If you’re a fan of shooting with vintage glass through adapters, or any fully manual lenses that don’t communicate with the body, you’ll appreciate that the Pen-F lets you make a list of the lenses that the camera can’t identify. It’s a slightly laborious task to enter the names of the lenses, but once you do, you can select them from the list in the body and the camera will include the name of the lens in the EXIF data. It may seem like a little thing, but if you’ve shot a lot of images with multiple such lenses over the course of a weekend while switching among a handful of them, it’s a really helpful thing to have when sorting out which images were shot with which lens.
Overall, the camera has a classic look that is very appealing. The on/off switch is a round knob on the left side of the camera top and reminds me of the a slightly smaller version of the film rewind knob on very old Leica cameras. In fact, most of the controls on the Pen-F are round. According to Olympus that’s partially because, in the time that the original Pen-F was made, it was less expensive to mill round pieces than it was to make square metal parts. So, in homage to that, the new Pen-F has a round EVF eyecup. We’re not sure if it’s just a quirk of early samples, or the shape of the rubber on the eyecup, but on a few occasions, the sensor that recognizes when you hold the camera up to your eye didn’t work properly, thus not switching to the EVF. You can work around this by manually switching ot the EVF, but it was a tad annoying when it did happen.
A small exposure compensation dial on the right side of the camera top lets you adjust up to +/-3 EV and if that’s not enough you can use one of the command wheels to reach up to +/- 5 EV. If the dedicated dial is enough, you gain the option of assigning something else to the command wheel and it is freed up to be able to control other things, such as highlight and shadow detail in custom color and monochrome modes.
Shot with the built-in monochrome mode
Speaking of those modes, the dial on the front of the camera body, evoking the shutter speed control dial on the original Pen-F, lets you switch between Art Filters, Color Creator, Color Profile Control, and Monochrome Profile Control modes. Each of the profile control modes has three different settings and each of those can be customized. Those modes also add grain to the images. However, Olympus says that it's not just a blanket of fake grain. Instead the caemra takes into account the content of the image and aplies grain differently in different areas to better approximate what film grain would actually look like. I left the grain settings on their default for my shooting. You can also add vignetting, though for the most part, I didn't employ this option and its default setting is off.
The Color Profile modes include standard (similar to normal color shooting), chrome rich color, and chrome film vivid modes. Monochrome Profile modes include, standard (similar to normal monochrome shooting), high contrast, and infrared simulation modes. The infrared simulation doesn’t engage an actual infrared shooting mode, but does a nice job of giving that kind of look, with greens turning brighter and clear skies turning darker as they would with real infrared shooting.
While these color and monochrome modes might sound kitschy at first, in practice they’re quite enjoyable and offer enough customization to tailor them to your taste and incorporate them into your shooting when the moment strikes you. Since the dial is very accessible, I found myself switching through them a lot and having a very fun time. If you shoot RAW+JPG, as I do, you can always go back and second guess yourself if you think that you made the wrong decision in the moment.
Overall, the Pen-F proved a very comfortable camera to use. If you like street photography, or just want a powerful, small camera, it deserves your serious consideration.
The big news out of Olympus today is obviously the rebirth of the iconic PEN-F camera into the digital age, but they also have a rather handsome limited edition to announce as well. This OM-D E-M10 II is wrapped in decorative leather-like material.
The camera is functionally identical to the normal-looking model, but it’s like they put a classy tweed jacket on it to really class up the joint. It comes with a matching strap as well as the standard 14-42mm electronic kit zoom lens for a retail price of $899.
While hardcore camera heads will typically scoff at limited edition cameras like this, it seems like these releases may be a significant indicator for Olympus’s future strategy. With this limited edition and the release of the stylish new PEN-F, they’re clearly increasing their emphasis on aesthetic. The classic look of the OM-D series has always appealed to me and the new PEN is as classic as they come. It certainly doesn’t seem to be hurting its ability to make excellent pictures, so investing some effort into making their cameras look good seems like a smart move to me.