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Yearly Archives: 2018

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Canon announces new mirrorless camera and lenses images
Author Graham Gordon Categories News Posted on 2 Comments on Canon announces new mirrorless camera and lenses

Canon announces new mirrorless camera and lenses

Canon once again revolutionises the future of photography and filmmaking with pioneering, new EOS R System. Canon unveiled the first camera body to carry the EOS R name and RF lens mount – setting the new standard for the camera of tomorrow. The new EOS R System will once again expand photographic possibilities in countless ways. The new RF lens mount has been engineered with the perfect blend of optical, mechanical and electronic design to capture unique moments in previously impossible ways.

Canon EOS R Adding to the full frame family

Since its inception in 1987, the EOS System has grown into the most recognised imaging system in the world. The EOS R incorporates the best from the existing system, with even greater levels of performance, lens design possibilities and creative flexibility. The new RF mount has been built on the strengths of the existing EF mount and is the result of detailed research by Canon engineers, who have designed an impressive optical system with a flange back distance of 20mm and a wide 54mm diameter lens mount – allowing for even greater freedom when designing lenses. The new mount’s 12-pin connection enables enhanced communication and power transmission between the lens and camera body, further enhancing lens design options, resulting in higher image quality and enhanced usability. With the world’s fastest autofocusi, it is also the world’s first camera with the ability to focus in light conditions as low as -6EVii and totally silent shooting, providing stunning quality results every time.

Canon breaks new ground in lens design, with the world’s lightest 400mm f/2.8 and 600mm f/4 lenses and a pioneering 32mm mirrorless lens.

The Canon EF-M 32mm f/1.4 STM – a pioneering 32mm mirrorless lens designed exclusively for the EOS M system, and the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM – the world’s lightest professional super telephoto lenses in their class . Embracing the legacy of quality engendered by the EOS system, yet compatible via adapters with the new, cutting-edge, EOS R System – the considerably lighter EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM radically enhances ease-of-use, giving photographers the confidence to consistently deliver superior images.
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EF-M 32mm f/1.4 STM

The EF-M 32mm f/1.4 STM is a premium EF-M lens designed to be fast, discreet and capable of delivering exceptional detail and clarity, making it perfect for elegant portraits, candid photography or natural looking compositions. Offering a 51mm equivalent focal length, the EF-M 32mm f/1.4 STM provides a natural perspective and a ‘normal’ field of view, close to the perspective of the eye. This helps to bring candid images to life, with realism and detail, as they look natural and spontaneous. A wide f/1.4 aperture allows highquality images to be captured with excellent depth-of-field control or to shoot in challenging low-light conditions

EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM

These two new telephoto lenses encompass a revolutionary combination of ultra-high performance and lightweight design. The EF 400mm f/2.8L IS III USM and the EF 600mm f/4L IS III USM are the world’s lightest  400mm f/2.8ii and 600mm f/4 lenses III, making them ideal for action and wildlife photography. Thanks to five-stop Image Stabilizer (IS) technology, their game-changing weight and the portable design, both lenses allow photographers to achieve professional performance with the confidence to shoot handheld, as camera shake, and subsequent blurring, are significantly reduced.

For more information, contact sales on 020 7582 3294 or email sales@fixationuk.com

 

 

Nikon announces new mirrorless cameras and lenses images
Author Graham Gordon Categories News Posted on 0 Comments

Nikon announces new mirrorless cameras and lenses

Meet the groundbreaking Z series

Nikon announces the release of the full-frame, Nikon FX format mirrorless cameras, the Nikon Z 7 and Nikon Z 6, as well as NIKKOR Z lenses, featuring a new, larger-diameter mount.

The Z mount system is comprised of mirrorless cameras featuring a new, larger-diameter mount, as well as compatible NIKKOR lenses and accessories. This system has been realised through the pursuit of a new dimension in optical performance. It has inherited Nikon’s tradition of quality, superior imaging technology, great operability, and high reliability, all innovated from its digital SLR cameras.

Features

• Equipped with a new backside illumination Nikon FX-format CMOS sensor with built-in focal-plane phase-detection AF
• A hybrid AF system with focus points covering approximately 90% of the imaging area
• The new EXPEED 6 image-processing engine for sharp and clear imaging and new functions that support creative expression
• An electronic viewfinder that utilises Nikon’s superior optical and image-processing technologies to offer a clear and natural view
• An ergonomic design unique to Nikon that enables intuitive operation

 

Nikon have also launched three new lenses compatible with its Z mount system’s full-frame (Nikon FX format) mirrorless cameras, and the new Mount Adapter FTZ. The standard zoom NIKKOR Z 24-70mm f/4 S, the wide-angle prime NIKKOR Z 35mm f/1.8 S, and the standard prime NIKKOR Z 50mm f/1.8 S will operate with the system’s new larger-diameter mount.

Features

• Superior rendering for exquisite image expression that redefines perceptions of what a 50mm f/1.8 lens can do
• Sharp and clear rendering of details from the centre of the frame to the peripheral edges, regardless of the shooting distance
• The soft and beautiful bokeh characteristics at any shooting distance possible only with a fast lens
• Adoption of two ED glass elements, and two aspherical lens elements
• Adoption of a new, powerful stepping motor (STM) enables quiet and accurate AF control with both still-image and movie recording
• In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

Nikon’s AF-S NIKKOR 500mm f/5.6E PF ED VR, a super-telephoto lens compatible with Nikon FX-format digital SLR cameras.

The AF-S NIKKOR 500mm f/5.6E PF ED VR is a high-performance, FX format, super-telephoto lens that supports a 500 mm focal length. Adoption of a Phase Fresnel (PF) lens element has significantly reduced the size and weight of the lens, making hand-held super-telephoto photography easy and enjoyable.

Features

• Significantly smaller and lighter with the adoption of a Phase Fresnel (PF) lens element
• Designed with consideration to a dust and drip-resistant structure, and adoption of Nikon’s fluorine coat that effectively repels dust, water droplets, grease, and dirt
• Cutting-edge optics with which one PF lens element and three ED glass elements have been adopted for extremely sharp and detailed rendering that is compatible with high pixel-count digital cameras
• Optical performance that is in no way sacrificed when the TC-14E III AF-S teleconverter is used
• Materials used in the new PF lens element effectively control PF (diffraction) flare
• The effective ghost and flare suppression achieved through the use of Nano Crystal Coat enables clear images
• AF speed increased by making lens elements in the focusing group lighter

For more information, contact sales on 020 7582 3294 or email sales@fixationuk.com

Fujifilm XH1 vs. Panasonic Lumix GH5 image
Author Graham Gordon Categories Review Posted on 0 Comments

Fujifilm XH1 vs. Panasonic Lumix GH5 for video

The Fujifilm X-H1 is a serious attempt by Fuji to start courting pro video shooters and hybrid photo/video content creators. A large APS-C mirrorless camera capable of shooting 4K at a high bit rate, with colour profiles optimised for video, it merits serious consideration if you’re looking to upgrade your CSC video kit or expand your skill set into this area.

A camera of similar dimensions and spec, one that similar users will be considering, is Panasonic’s LUMIX GH5, successor to the GH4 and considered by some to be the gold standard in terms of mirrorless cameras for vloggers and the like. While there are many cameras available for the videographer, mirrorless and otherwise, these two models are very similar in terms of price, physical size and capabilities. Thus, if one is tempting you, the other merits consideration too.

Which of these cameras is the better buy? We’ll take a closer look for you in our Fujifilm X-H1 vs Panasonic LUMIX GH5 comparison guide…

 

Build

Externally, these two cameras are very similar. There is barely a hair’s difference in their dimensions, with both measuring around 140mm by 86mm. At 673g, the X-H1 is a little lighter than the 725g Panasonic GH5, but this isn’t really enough to make a significant difference. If one of your main concerns is lightness and portability of your kit, both of these cameras will suit you well.

Elsewhere, both cameras have a full complement of features useful to the videographer, such as rear LCD screens – the Panasonic’s is both a little larger at 3.2 inches, compared to 3 inches on the X-H1, and higher resolution, with 1,620k dots compared to 1,040k. The Panasonic also scores an extra hardware point for coming with a headphone port built into the camera – if you want one on the X-H1, you need to spring for a battery grip. Both cameras also boast dual SD card slots, a very handy feature for memory-hungry video work, and high-resolution electronic viewfinders.

Internally, there are significant differences worth highlighting in the sensors of the two cameras. The GH5 uses a Micro Four Thirds Live MOS sensor with 20MP of resolution, while the XH1 houses a larger APS-C CMOS sensor with 24MP to play with. This gives the XH1 an edge in terms of the image it produces – richer and with more detail than the Panasonic’s.

Video quality

Both cameras are capable of shooting DCI 4K video, which comes at a resolution of 4096 x 2160 pixels. The Panasonic GH5, however, has a significantly better bit rate of 400Mbps compared to 200Mbps on the XH1, which improves the quality of the video captured. Both cameras also have their own bespoke flat Log profile, used to capture the maximum amount of colour data possible in order to make the grade easier when it comes to editing. The Panasonic Log profile is known as V-Log L, while Fuji’s is F-Log. The Panasonic profile is 10-bit (when used in the GH5) while Fuji’s is 8-bit, so that means you’ll get richer colour depth out of the Lumix model.

Shooting experience

You’ll have a great experience shooting with either of these cameras – both are superbly designed by firms with decades of experience in the field. There are some differences worth noting however.

First, let’s look at low-light performance. The Panasonic Lumix GH5 comes sporting an ISO range of 200-25,600, while the Fujifilm XH1 manages 200-12,800. This might lead you to assume the Panasonic will have the edge in low-light shooting, however, the GH5 is not particularly rated in video circles for its low-light performance, with many users agreeing that footage only really stays usable up to about ISO 6400. Thanks in no small part to its larger sensor, the Fujifilm XH1 produces better low-light footage and copes better at high ISO levels. If low-light shooting is a priority for you, this is worth keeping in mind.

(Of course, it is worth mentioning that in this arena, both of these cameras are comprehensively walloped by Sony’s A7S II, the undisputed king of low-light shooting in the mirrorless realm, with a price to match. That’s out of the purview of this particular blog for now, but is worth mentioning.)

If you’re a run-and-gun type of filmmaker you may find yourself wanting to rely on your camera’s autofocus system, and both of these models deliver pretty well on that front. The XH1 has the edge though, with 325 focus points compared to 225 on the GH5, and a hybrid system that makes use of both contrast-detect and phase-detect AF, rather than just phase-detect on the GH5.

Incorporating slow-motion footage into your video work? Both cameras will allow you to do so, however the GH5 will do it better, shooting at a super-slow 180fps, compared to the still-respectable 120fps on the XH1.

Finally, the GH5 has an edge in terms of battery life, shooting for longer than the XH1. Both cameras can take battery grips, which you’ll want for shooting video.

Lenses

The Fujifilm XH1 is of course X-mount, and this gives it access to the full roster of X lenses. Many of these are absolutely gorgeous – tack-sharp, with generous maximum apertures and smooth zooming action in the models that offer that functionality. However, the Micro Four Thirds mount of the GH5 makes it a comprehensive winner here. The user just has so much glass to choose from at first instance, without needing to get any adapters involved. That’s tough to beat.

Verdict

It’s a tough one, for definite, and the important thing to remember is that both of these cameras are fantastic achievements in technology that will serve you well for your videography needs. For now though, the Panasonic Lumix GH5 has a slight edge thanks to superior video features such as its higher bit rate and better Log profile, as well as the superior lens selection. This, of course, does depend on your situation – if you think you’ll be relying on autofocus and/or shooting a lot in low light, the XH1 may well be your best bet. Feel free to get in touch with us if you’d like to chat about the strengths and weaknesses of these cameras in greater detail – someone on the team will be happy to help!

Feature | Best Second or Backup Cameras image
Author Graham Gordon Categories Feature Posted on 0 Comments

Feature | Best Second or Backup Cameras

There are plenty of situations in which you might not want to use your big, bulky pro-spec DSLR. Taking photos is fun, whether it’s just grabbing a few street shots on a Sunday, or grabbing some images on holiday, and in these kind of situations, a backup second camera, something pocketable and self-contained, is a tremendous thing to have. It can also have professional uses too, allowing you a quick way to grab behind-the-scenes images or encouraging you to shoot with a different perspective.

Here, we run through some of our recommendations for pocketable second cameras you can carry everywhere with you.

Fujifilm X100 series

These are arguably the archetypal second cameras on the market right now. The series currently numbers four models — the original X100, the X100S, the X100T and the X100F, which was released at the start of 2017. All share a fixed focal-length 23mm lens (35mm in equivalent terms), and later models have been upgraded with more recent iterations of the X-Trans sensor. The X100F especially was a serious upgrade, using the X-Trans III sensor and the X Processor Pro, resulting in snappy focusing times with significantly better focus tracking.

So what is it about this series that photographers enjoy so much? Our friends at Wex Photo Video interviewed a few pros about why they love this series so much https://www.wexphotovideo.com/blog/features/Why-Photographers-Love-the-Fujifilm-X100-Series/, and the responses were interesting. Photographers praised the tactile, dial-led controls, the pocketability of the cameras, the optical/electronic hybrid viewfinder, the film simulation modes that produce beautiful images straight out of camera. For some of them, the X100 cameras have even found a place in their professional workflow, despite their fixed focal lengths.

Panasonic TZ series

These compacts have established  a well-earned reputation for being useful, all-rounder travel cameras (the TZ denotes ‘travel zoom’), and they make perfect pocketable companions. The series currently comprises the TZ70, TZ80, TZ90, TZ100 and TZ200. The range offers a pleasing variety of configuration, allowing you to pick your model to taste. For example, the triple-digit cameras both come sporting larger 1-inch sensors, compared to the 1/2.3-inch MOS sensors of the others; however, the double-digit models offer a greater zoom range of 30x (24-720mm, 35mm equivalent) compared to 10x (25-250mm) on the larger models. It’s a matter of personal preference.

Elsewhere, these cameras pack a lot into their light bodies. All come with 5-axis image stabilisation, and all save the TZ70 are able to record 4K video, and given that these are Panasonic Lumix models, can also use 4K Photo modes to extract 8MP stills from footage. They’re terrific travel cameras for a multitude of reasons, not least of which is the full Wi-FI connectivity present on every model — perfect for sharing shots.

Sony RX100 series

Since casually redefining the possibilities of the small compact camera with the original RX100 back in 2012, Sony has not rested on its laurel. Six years later and we are on the sixth iteration of the format, with the RX100 VI making its debut in 2018. Unusually, all six cameras are still widely available — the simple reason for this is that any one of them would make a worthy addition to any photographer’s kit bag.

The original RX100 turned the industry on its head by cramming a 20.1MP 1-inch Exmor CMOS sensor into a relatively small body, pairing it with a high-quality 28-100mm lens to make for a versatile, do-everything compact camera that can hold its own with the big boys. Subsequent models have more or less kept to this formula (with a little departure in the VI, which we’ll get to in a moment), and they improve incrementally in the ways you might expect, with higher ISO ranges, wider lens aperture, better processing times etc. The great thing about all the cameras being available (and of superb quality) is that you can balance your budget against the features you want and/or can live without and make a decision accordingly.

Finally, a word on the RX100 VI. Sony took a bit of a departure with this one and managed to get a telephoto lens in there, upping the focal length to 24-200mm, significantly more than the 24-100 and 24-70 ranges of the previous models. If you want the extra reach, it’s a solid bet.

Canon EOS M series

Many photographers enjoy the feel of a DSLR too much to give it up. If you want that DSLR handling to be present and correct even in your second camera, then the Canon EOS M series is worth looking into.

The series started with the original EOS M back in 2012, and has since grown with the EOS M5, M6, M50 and M100. The M5 is the mirrorless flagship, with others in the series offering a more slimmed-down experience, with prices to match. All feature high-quality sensors, and the EOS M50 is capable of shooting 4K video, making them more than a match for other cameras of their class.

Lens-wise, these camera use the EF-M mount, a pleasingly broad range that encompasses slim wide pancakes, longer telephotos and everything in between. If you’ve already got a hefty collection of Canon glass, you can also adapt it to your EOS M camera with the EF-EOS M mount adapter. This versatility and flexibility makes the M series an especially good choice of second camera for Canon users, whether it’s as a smaller camera to pack for a casual day out, or as a second camera on a professional shoot.

Nikon D850 video options images
Author Jonny Helm Categories Close Up Posted on 0 Comments

Nikon D850 video options

Does this powerful DSLR have what it takes to compete for video shooters as well as stills? We dig into its feature set to take a closer look.

As the world of visual content chops and changes, many photographers are finding themselves wanting to diversify into video, to be able to offer their clients either or both services depending on their needs. As such, many are asking for a decent hybrid camera, a reliable stills workhorse that can also pick up the slack in video where needed.

Last year, Nikon responded to these demands with the magnificent D850 — a true hybrid camera that brings all the stills acumen you’d come to expect from Nikon and adds in some seriously impressive video functionality to boot.

If you’re thinking about picking up a hybrid camera to shoot stills and video, the Nikon D850 is a great place to start looking. In this article, we’ll break down its video capabilities in a little more detail to help you decide if it’s the right camera for you…

What does it shoot?

One of the headline features of the Nikon D850 is its ability to shoot 4K UHD video using the full width of its full-frame sensor — by contrast the Canon EOS 5D Mark IV, its realistic closest rival, shoots 4K video with a hefty 1.74x crop. The D850 uses intelligent pixel binning to get 4K (at 3840 x 2160) from the full width of its 8.2K 45MP sensor, and is currently the only DSLR model to shoot such video. It goes to a maximum frame rate of 30 when shooting 4K; if you’re shooting at Full HD 1080p, you can go to 60 or even 120fps for super slow-motion footage that’s still at high quality (though with a decent crop). Movies are shot in MOV or MP4 formats.

When capturing 4K, the D850 uses a bitrate of 144Mbps. This is significantly lower than the Canon 5D Mark IV, which uses a bitrate of 500Mbps. What this means is that while the D850’s footage is a little lower in quality, it eats up a lot less room on the SD card. You can record video continuously for up to 29 minutes and 59 seconds. There’s also the option to shoot 4K and 8K timelapses, although it’s worth being aware that the 8K timelapses will not compile in-camera, and will need to be assembled in post-production, and if so desired there is an exposure-smoothing function for timelapses.

The Nikon D850 doesn’t have Log profiles like its Canon and Sony rivals [link to explaining C-Log blog], however it does have a Flat Picture Control setting that’s intended to have the same effect — decrease contrast to gather as much information as possible to make the video suited for colour grading. It also has a clean HDMI output at 4:2:2 8-bit, and you can use this to record footage to an external recorder as well as the internal SD card simultaneously.

Body/controls

As you’d expect from a pro DSLR, the D850 is built like a tank, but it also has plenty of controls and physical features that should prove useful for video shooters. The tilting LCD screen on the rear is a touch-sensitive model, which adds a great deal to the D850’s operability. You can use the touchscreen to access all the main video settings — what’s more, there’s also the nice touch of keeping video and stills settings separate, meaning you can tweak your preferred defaults for one without affecting the other. This is especially useful for hybrid shooters.

The DSLR ergonomics of the Nikon D850 arguably give it an edge over its Sony rivals, with a good chunky handgrip that makes it easy to use. Dual card slots are also welcome, allowing you to keep shooting and shooting.

There are two things that video shooters often ask for that end up neglected on DSLRs and CSCs — sockets for both an external microphone and monitoring headphones. Thankfully, the D850 includes both.

Video features

Nikon has included plenty of useful features for video shooters in the D850, though it’s important to be aware of how and when they can be used.

Focus peaking, highlighting subjects that are currently in focus, is included for video shooting on the Nikon D850, a rarity for DSLRs and a welcome feature here. While you may or may not have found much use for it while shooting stills, in the more manual focus-oriented world of video, it’s borderline essential. It can be set to three intensity levels, and you also have the option of changing the colour if so desired. However, this feature is only available for shooting video in 1080p, not 4K, and it also cannot be used at the same time as digital image stabilisation, or when shooting slow-motion.

The D850 also has a highlight display mode that uses zebra stripes to indicate blown-out highlights, and electronic vibration reduction technology to control the effects of camera shake. Again, both of these features are only usable for Full HD recording, not 4K. The D850 also has the option of using its contrast-detect autofocus system for video, however, early reports indicate that this can be a little erratic and unreliable. In most situations, you’ll probably be best off using manual focus, with focus peaking for fine-tuning, and if this isn’t something you’re comfortable doing, you may want to look at Canon or Sony.

Final thoughts

The hybrid photographer/videographer was quite clearly on the Nikon engineers’ minds in the making of the D850, and if this describes what you are, or what you want to be, then it’s a superb option that’s well worth considering. Some of the limited video functionality, such as various features being unavailable in 4K, means that dedicated video shooters may want to look elsewhere, but if you’re going to be a jack of both trades, then the fact that the arguable best pro stills DSLR on the market now comes with professional-grade video features makes the D850 a very tempting prospect indeed.

 

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