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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.

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