New Stuff From Sony and Sigma!

The rumors have been flying around the Web that Sony was going to introduce a mirrorless, interchangeable lens camera system, similar to their NEX cameras, and that's what they've done. Sony has just announced the A7 and the A7r. The A7 will have a 24 MP sensor and the A7r will sport a 36 MP sensor with no anti-aliasing filter for maximum sharpness. Both models will have a built-in OLED EVF finder. The cameras will feature a tiltable LED screen, focus peaking, and weather-sealing. The cameras will accept current NEX APS-C lenses, though some vignetting will occur, and Sony will also offer an adapter so you can use full frame lenses from their regular full-frame cameras. The A7 body will sell for $1698 and the A7r body will sell for $2198.

Sony will also introduce a handful of new lenses for the cameras: a Zeiss FE 24-70mm f/4 OSS, a Sony G 28-70mm f/3.5-5.6 OSS, a Zeiss FE 35mm f/2.8, a Zeiss FE 55mm f/1.8, and a Zeiss FE 70-200mm f/4 OSS. This promises to be an exciting new system for pro photographers. Full frame images with smaller cameras and lenses. What's not to love?

And finally, Sigma is introducing a new lens, the 24-105mm f/4 DG OS HSM Art lens. The Sigma Art lenses emphasize image quality and sharpness, so this will probably be a lens to check out. It will have a fairly large filter size of 82mm, which means that they will have more room to play with in refining the optics for maximum effect. The physically smaller the lens, the less room you have to correct for optical problems. This lens will compete directly with the Canon 24-105mm f/4 IS L lens and it will be interesting to see how they compare. No word yet on its price.

A Closer Look at the Fuji X-M1

I mentioned this new camera, the Fuji X-M1, the other day, but I didn't really look at it all that carefully. Seemed at first glance to be just another boring camera, but maybe I was still reacting to Leica's X Vario/ Mini-M debut. So now after reading up on it a bit more, it turns out to be more interesting than it first appeared. The X-M1 continues the updated retro look of the other X-series cameras, like the X-Pro1, X-E1, and the X100S. While it is true that it doesn't feature an optical or LCD viewfinder or manual-oriented dials and switches, it manages to fit in with the rest of the X family quite nicely.

I like the new selection of colors it will be offered in and I really like the smaller size. That's a direct benefit of leaving off the viewfinder; you can cut down on the size of the body. People are now used to using the rear LCD screen for composing anyway. And I like that it uses the same 16 MP sensor as the two models above it in the line-up. So people can approach the X-M1 in at least two ways. You can see as the entry-level camera that it can be used like; its controls are intended for easy full-auto and point-and-shoot use. Or you can see it as a back-up body or stroll-around camera that will deliver images nearly identical to those produced by its higher-priced and bigger siblings. Plus, it has built-in WiFi for connecting and downloading images to your phone. And the prices is pretty good. The X-M1 body goes for $699 and the kit with the new 16-50mm zoom lens goes for $799. This is a smart, well-considered camera offered at an attractive price point. Fuji continues to follows its own lead in matters of camera design and execution, and I think they deserve a lot of praise for that. I wonder what they have planned for next?

News From Around the Web

Sigma announced the price of the upcoming APS-C zoom, the 18-35mm f/1.8 HSM Art lens, and it's a bit of a surprise. It will sell for $799, which is something of a steal. I know that $800 is still $800, but considering that Canon's new 35mm f/2 IS USM lens goes for $850, the price of the Sigma zoom looks pretty good. Not much has been seen of this lens, but lens tests are starting to show up and reports are very positive. Sigma is becoming a lens company to watch, that is for sure.

Fuji will announce a new camera in its X-series, called the X-M1. It's a smaller, less expensive model, more of an entry level one, to fit in with their X-E1 and X-Pro1 cameras. This picture shows it with their new lens, a 16-50mm f/3.5-5.6 OIS. It won't have a built-in viewfinder, instead, viewing is done through the LCD screen on the back, like other P&S's.

Finally, Samsung is really upsetting the old apple cart these days! Get it? Apple cart? Phones? Oh, well. Anyway, Samsung is announcing a couple of new products that illustrate the merging of medias and technologies. First, the have the Galaxy S4 Zoom, which combines a real 10x zoom lens 16 MP OIS camera with a smartphone. So instead of a smartphone with a built-in camera, you have a camera with a built-in smartphone. We can only hope it works well as a phone when you want to make a call. Still, it would be nice to always have a decent camera with you. I'll be checking this one out.

And then Samsung takes it further, in announcing the Galaxy NX, an interchangeable lens 20.3 MP sensor mirrorless camera with a 4.8-inch touch screen that uses the Android 4.2 Jelly Bean OS and has 3G and 4G WiFi connectivity. While it isn't a smartphone, you will use it like one. Post your pictures to Instagram. And you'll be able to stream and watch movies on your camera. And surf the Web. Wow.

"M" is for Meh!

Yes, I know this is late, but I just about couldn't work myself up to post about this when it became news. The new Mini-M camera from Leica turned out to be the X Vario, which as its name suggests, it is a zoom version of the fixed lens X2. So both of my guesses were dead wrong. But I think Leica's reasoning on calling it a Mini-M was misleading, to say the least. Companies should be careful about building up too many expectations about the products they are releasing. It's too easy to disappoint. And frankly who cares about another over-priced zoom compact from Leica? Meh.

Fotodiox Debuts New LED Light

Photographic lighting has undergone several changes over the years. The first lighting was based around tungsten bulbs. Then quartz lighting proved to be more stable with less color temperature fluctuations. Then electronic strobes took over most of still photography, especially in the studio, and that seemed to solve most of the problems that photographers faced when using artificial lighting. With flash, they had short exposure times with adequate depth of field at low ISO ratings. Seemed ideal, but a funny thing happened when photography started to include movie making with digital HD-SLRs. Now flashes didn't work at all and the search was on for better lighting sources for video and filmmaking. For a while, florescent lighting was used, and still is a little, but then LED lighting was tried and that proved to be a significant innovation.

With LED lighting, you could have fairly bright lights that could compete with quartz lighting in terms of output, but LEDs were radically cooler. And by this, I mean that the lights remained cool to the touch. The main handling problems with high wattage tungsten and quartz lighting is that the light housing could heat up so much that you couldn't safely touch them after you were finished using them. You had to wait several minutes before they were cool enough to touch without burning yourself. LED lights don't heat up like this.

Until now, most LED lighting consisted of flat panels of LED bulbs arranged in a tight grid. And petty much what you saw was what you got. There were little or no light modifications you could use with them. But now, Fotodiox has changed that with the introduction of their new LED light, the LED100WA. This is an LED light based around a strobe style housing and made to be compatible with standard Bowens flash accessories, like umbrellas, softboxes, barndoors, snoots and more. The LED100WA is rated at 600 watts and is available in either 5600K (daylight) or 3200K (tungsten) color temperatures. It will sell for $324.95, and it can be purchased directly from Fotodiox.

Zeiss Launches New Lenses

Zeiss is launching a new line of lenses for Sony E-mount and Fuji X-mount cameras. Called the Touit series, named after a small Central American parrot, the first lenses are a 12mm f/2.8 and a 32mm f/1.8. Known for their image quality and their impeccable construction quality, Zeiss is making a smart move in making lenses for these two camera formats. Both Sony, with its NEX 7 and NEX 6, and Fuji, with its X-Pro 1 and EX-1, are making serious in-roads into professionals' camera arsenals, much to the chagrin of Canon and Nikon, so having top quality lenses for Zeiss for these cameras is just going to make them even more desirable. I'm sure they won't be cheap, but serious A-level equipment seldom is cheap.

Shocker! Sigma Announces f/1.8 Zoom!

Sigma surprised pretty much everyone by announcing a new zoom lens for APS-C digital cameras, the Sigma 18-35mm f/1.8 DC HSM lens. This represents a new milestone in zoom lenses, as no one has ever made a constant aperture f/1.8 zoom lens for this format before now. Professional-class zoom lenses have topped out at f/2.8 for most manufacturers until this introduction, although Olympus made some high quality zoom lenses for the standard 4/3s format with an aperture of f/2. With the new Sigma 18-35mm f/1.8, the range is somewhat limited (in 35mm equivalent terms, this is a 27-52.5mm lens), but this lens will reach new heights in limited depth of field for a zoom lens and could conceivably replace several lens in a photographer's bag. This is also part of Sigma's "A" series lenses, which stands for "Art," so we can expect smooth bokeh and high resolution. The lens features 17 elements in 12 groups, a fairly complicated design, with 4 glass-molded aspherical elements and 5 Special Low Dispersion (SLD) elements. Lately, Sigma has been on a roll and this is a lens to look forward to. Kudos to Sigma! Makes you wonder what else they have up their sleeves.

Misc. News with Update!

UPDATE: The US designation for the new Rebel is the SL1, and another feature it has is a touch sensitive rear LCD screen. Canon is also introducing the Rebel T5i. The Rebel SL1 will sell for $649.99 for the body or $799.99 for the SL1 kit with the new EF-S 18-55mm IS STM lens. The T5i will sell for $749.99 as body only and for $899.99 in a kit. Below is an interesting size comparison between the new SL1, the Rebel T4i, and the EOS M, courtesy of Photo Rumors. As you can see, the SL1 is definitely smaller.

A couple of items have come to my attention. First up is a new camera from Canon, the EOS Kiss X7 (Kiss is the European version/designation of the American Rebel camera line), which is intended to compete against some of the Micro 4/3 cameras, in terms of size and portability. And it does seem small. Look at the diameter of the lens mount compared to the body. However, putting regular Canon lenses on it will negate much of its size advantage, compared to the rather petite M 4/3 lenses. And since Canon has their own M 4/3-like camera, the EOS M, you have to wonder about their reasoning. Well, whatever.

But the specs look good: 18 MP sensor, full HD video, pivoting LCD screen, and DIGIC5 processing chip. With the new camera is a new kit lens, the EF-S 18-55mm IS STM, which is optimized for video. And when it comes to the US, the camera will have a different name, of course. If nothing else, it should make a great back-up camera.

 

The Brown Sisters, photograph by Nicholas Nixon 

Then, Ahorn magazine has published an interview with Nicholas Nixon, a documentary photographer whose main camera is an 8x10 view camera. Even though he works with such a large, cumbersome camera, he manages to routinely get intimate people pictures with a lot of heart and presence. Nixon is a fabulous photographer, who frankly isn't as well known as he ought to be and you can read what he has to say about his art here.

New Stuff!

Fotodiox has announced the availability of an interesting alternative for photographers looking to create high resolution, 645 medium format, digital images without spending $30,000 and up. The RhinoCam is made for Sony NEX cameras and uses those cameras as a digital back that is moved into predetermined positions letting the photographer take several images that can be combined or stitched together into one 140+ MP photograph in a program like Photoshop . It uses medium format lenses from Hasselblad V, Pentax, and Mamiya, and has a sliding focusing screen for focusing and composing the image. The RhinoCam sells for $500. This could be a good option for some people. Landscape and architectural photography would work nicely with a system like this.

Also, Sigma has released the prices of a few of their new lenses. Both the new 19mm f/2.8 and 30mm f/2.8 for M4/3 and Sony E-mount will sell for $199 each, and the APS-C digital lens, the 30mm f/1.4 in Sigma, Canon, and Nikon mounts will sell for $499.

Canon News

Item 1: The big news is that Canon has finally jumped into the mirrorless, interchangeable lens camera market with the EOS M. The EOS M features an 18 MP APS-C sensor with full HD video capabilities and will ship in a kit in October with the EOS M 22mm f/2 STM lens for around $799.95. If you remember from an earlier post, Canon's new STM lenses offer full-time, noiseless autofocus even during video recording. The EOS M will be offered in four colors: black, white, silver, and red. It's not clear exactly how big or small the camera is, but if the lens mount is any clue, it should be around the size of comparable cameras like the Panasonic GX-1, or maybe just a touch smaller. The new lens mount is significantly smaller than the standard Canon EF and EF-S lens mounts and Canon will start out with 2 lenses for the EOS M: the 22mm f/2 (which is equivelent to a 35mm lens) and an 18-55mm f/3.5-5.6 IS STM. Canon will also have a lens mount adapter so you can use their regular line of EF and EF-S lenses.

I think the price is right and if the size is right, this could be an excellent camera for a lot of photographers. It could definitely function as a back-up to a bigger system, or as a pocket-sized alternative to a bigger system. Canon is kind of late to the party with this camera, so it's hard to predict how people will respond to it. I know that I am looking forward to seeing it in person and seeing how it shoots. Color me interested.

Update: After looking at a few promo videos of the new EOS M, it looks like it is being aimed at the casual or amateur photographer. It has a touch screen that is used for most operations on the camera. There are very few physical buttons and controls on the camera. While this will appeal to a lot of potential buyers, and there is nothing wrong with this, it will be a definite turn-off for most serious photographers. Having to go through touch-screen menus to choose an aperture will limit the use and appeal of this one for pros. Plus, at least for now, there is no option for an in-camera viewfinder. I wish Canon had debuted a model with more pro-features than this one. Kind of a bone-headed move, if you ask me. Color me not so interested, now.

     

Shot with the EOS M with the 22mm f/2 STM lens.

Item 2: Ilford and Canon are teaming up to offer folks a chance to have one of their images printed on Ilford Galerie Prestige papers (Smooth Gloss 310 gsm and Smooth Pearl 310 gsm) using 3 different Canon printers: the Pixma PRO-1, the Pixma Pro9500 Mark II, and the Pixma Pro9000 Mark II. If you are interested in seeing how Canon printers perform, this is a great opportunity. For myself, I am currently using the Canon Pixma Pro9500 Mark II and am quite happy with it. I know Epson has the majority of the inkjet market locked up, but you won't lose anything by printing with a Canon printer, that's for sure. To read the details and take advantage of the offer (it's good till September 30th), go to www.TryMyPhoto.com.

Item 3: This is more in the realm of rumor, but Canon is supposed to announce in the near future a new full-frame, entry-level camera. From what I've heard, it will be more like a full-frame Rebel than a 5D Mark III. It will be smaller, lighter, and use more plastic in the construction. The interesting part of the camera is that it is supposed to sell for around $2000. And suddenly the higher than expected price of the 5D Mark III starts to make sense. When the Mark III came out at $3500, people were surprised and dismayed. It seemed like too much of a jump in price from the Mark II for too little gain. But with the new camera coming out, having a full-frame camera that is nearly $1500 less than the Mark III almost guarantees that people will snatch these up in a heart beat. Having a smaller and lighter camera with the new 40mm pancake lens might be the perfect combo for street shooting and photojournalism. At this point, I'm not really sure how I feel about this. Of course, as I said, this is more of a rumor for now. We'll see what happens later.

Photos from Pacific Grove, part 1

A few weeks ago, my wife and I traveled to the LA area to see our daughter graduate from CalArts. On the way back, we stopped in Pacific Grove, which is on the Monterey Peninsula just south of the city of Monterey. The city and the coastline there are beautiful. I don't think I've ever been to a prettier place. So here are a few pics I made there. These are more snapshots than anything else. Today, I post the color images and tomorrow I'll put up some black-and-white images. Enjoy.

 photo by Hermon Joyner

 photo by Hermon Joyner

 photo by Hermon Joyner

 photo by Hermon Joyner

 photo by Hermon Joyner

What Do We Call Micro 4/3 Cameras?

Yesterday, a friend of mine, Kim, pointed out an infuriating and bone-headed mistake he caught in a recent B&H catalog. I think this mistake is a good illustration of why the problem of creating a new class and format of camera, and then not having a good name for it, is a real challenge. Lots of mistakes and misinformation can result. In a short essay explaining the differences between DSLRs, like the Nikon D800, and the newer Micro 4/3s cameras like the Olympus E-P3 or the Panasonic GX1, they labelled the new cameras as "Mirrorless DSLRs." It's almost like they don't know what "SLR" stands for, which is a profound bit of nonsense that can only confuse people. It is about the same as calling digital cameras, "filmless film cameras." It just really doesn't make sense.

In the 20th Century, several camera formats came into being. View cameras meant that you view straight through the camera, seeing the direct image projected by the camera lens. TLR, or Twin Lens Reflex, meant that there were 2 lenses on the camera, one for taking pictures and one for viewing. The "Reflex" part of the name referred to the mirror that reflected the image from the viewing lens upwards into a ground glass screen so that the photographer looked straight down into the camera as they used it. Rangefinder cameras referred to the rangefinder mechanism linked to the lens focusing which superimposed two images, so that when an object's two images lined up, that meant the focus for that object and distance was achieved. And finally, there were SLRs, which stood for Single Lens Reflex. These cameras were the mainstay of most photographers and combined the aspects of the other focusing methods into one usable and flexible style. In an SLR, the photographer looked through the taking lens, the image from that lens was reflected by a mirror into a ground glass screen and then channeled through a glass pentaprism and other glass elements to the photographer's eye. The term "Reflex" referred to the mirror used to reflect the image into a ground glass screen. In cameras, "Reflex" always refers to a mirror, and that is why calling a camera a Mirrorless DSLR is so ridiculous.

Since the advent of digital cameras, the "D" was added in front of SLR to mean a Digital Single Lens Reflex (DSLR) camera and that is fine. But we don't have an easy and simple designation for the new format of cameras, even though many companies are making them. Sometimes they are called "mirrorless cameras," which is okay but kind of vague. None of the digital point-and-shoots have mirrors, either, but they aren't really the same kind or level of camera, so that could be confusing. Some people have even suggested calling this new format, EVIL, which stands for Electronic Viewfinder Interchangeable Lens. While clever, it seems like a marketing nightmare guaranteed to alienate certain folks. Who wants an EVIL camera? I guess I'd suggest a variation of SLR, which would be SLM, or Single Lens Mirrorless. It's simple and fits the nature of the cameras in question. From now on, that's what I'll be calling them. And B&H? Come on, you can do better than that!

First Impressions: Fuji X-Pro1

Last night I had the opportunity to see and handle the new Fuji X-Pro1 camera with its 3 lenses. When this camera was first announced, it seemed to have the answers for most of what ails digital cameras these days. Well, after taking a closer look at it, that was probably an overly optimistic view of this camera. Honestly, I don't think any camera, whether film or digital, can be the perfect answer for any and all situations. Some just are better fits for some specific problems, not all of them. So let's break down what I saw and experienced. Bear in mind that I didn't get a chance to shoot any images. I was looking at images taken and supplied by Fuji, so these can be assumed to be best-case examples of what the camera can do. What it actually does may be quite different in the real world.

The X-Pro1 is a bit of a mixed bag. My first impression on looking at it is that it's kind of big for what it is. I'm talking about the camera body itself. Keeping in mind that it uses an APS-C size sensor, it's nearly the same size as a Leica M9 and not that far from a full-sized DSLR, minus the penta-prism hump, of course. I was surprised. When I picked it up, though, it was surprisingly light. Almost suspiciously light. I know the body is made of mostly magnesium, but it felt very light as if it was made of plastic. The larger-than-expected size coupled with the feather-like weight created a strange disconnect for me. I'm used to pro-oriented cameras having a certain amount of heft, a substantial quality to them and the X-Pro1 doesn't have this. Of course, who am I to complain about a light weight camera? Anyway, moving on.

On the other hand, the lenses are surprisingly substantial and well-made. Aside from Leica and Zeiss lenses, I haven't picked up a lens like these in years. Even the focusing is smooth and well-damped like a well-made manual focus lens. But, that's where the similarities end. The operation of manual focusing these lenses is frustrating and unresponsive. Seems like you turn the focusing ring forever without getting anywhere. I was told they were an improvement over the focusing in the earlier model, the X100. If this is so, wow. Really?

So enough complaining, what was good about the camera and lenses? Well, the images for sure. The 35mm f/1.4 was clearly the best of the three lenses, with the 60mm f/2.4 coming close to it. These two lenses have the ideal combination of fine detail and sharp images with creamy, smooth out of focus characteristics that manage to provide enough hints of detail for the out of focus areas to hang together and not fall apart. The out of focus backgrounds and foregrounds don't turn to mush or have weird, distracting highlights, they still have a lot of character. Not every lens can do this. Images from the 35mm lens were especially three-dimensional. However, the images from the 18mm f/2 lens seemed kind of flat in comparison. It wasn't nearly as sharp.

A lot of the image quality probably is due to two things, the X-Pro1's sensor and processor. I leafed through a large stack of images printed to 8x12 and most had enough similarities to draw some conclusions. Overall, I'd say the images from the X-Pro1 were more immediately film-like than most digital cameras produce. There was a smoothness in the tonal gradations without losing sharpness in the detail that I used to associate with medium and large format color images. The image quality is first-rate, as good or better than anything out there.

The operation of the camera is simple, direct, and refreshingly old school with a shutter speed dial on top of the camera and each lens having their own aperture rings. Both have "A" or automatic settings, too. Add the exposure compensation dial next to the shutter speed dial and the shutter release and you have all you need to control the shooting. The hybrid viewfinder is pretty nice, too. A bit of visual drag with the LCD option, but it's not bad at all. Very livable. Using the camera proved to be intuitive and fast.

Despite my concerns and complaints, I enjoyed the X-Pro1 quite a bit. Before seeing and handling the X-Pro1, I was even toying  with the idea of selling my Canon equipment and just jumping into the Fuji X-system, but now that I have seen it up close and got a chance to see how it works, I'm probably going to stay put. But I will keep my eyes open to see where Fuji takes this new camera system. I have the feeling that the X-Pro2 will be something really special.