We’ve already seen some sample footage from Canon’s new professional EOS-1D Mark IV DSLR (and should be seeing plenty more come December), but a pre-production version of the camera has now turned up at the Canon Pro Photo Solutions 09 show in London, and TrustedReviews managed to get an early hands-on with it. As you might expect, the camera definitely seems to impress in person, with the 1.2 kilogram body providing a feeling of “solid reliability and competence,” while its ergonomics also apparently represent a more subtle but welcome improvement over previous Canon offerings. Unfortunately, the folks at TrustedReviews weren’t able to share any sample shots, but they did get a chance to try out the camera’s 45-point autofocus system, which is said to be “extremely fast,” and its tracking function reportedly had no trouble focusing even in dark, low contrast situations with a 400mm telephoto lens. Hit up the link below for a few more hands-on shots and impressions.
Minolta’s Sony’s DSLR range was refreshed only this August, but here we are, hearing rumblings of another new addition to the bunch. Set to occupy the space between the 14.2 megapixel A550 and 24.6 megapixel full frame A850, the imaginatively titled A750 is expected to strike the perfect balance between the two with a 14.6 megapixel full frame sensor. We see what you did there, Sony, very clever. If you ask us, anything over a solid dozen million pixels is overkill and just asking for noise trouble and processing lag, so in fact chopping a third off the A850’s pixels could turn out to be quite a boon for overall image quality. Then again, we’ve no idea what else Sony might sever from its higher offering, though we’re likely to find out by CES 2010 at the latest.
Olympus’ E-P1 micro four thirds camera only hit the market a few months ago, but already it seems as if a successor is inching closer to release. A peek at the outfit’s official Chinese website shows a panel and link for a “new” E-P2 camera, though it seems as if the page it’s listed on isn’t quite complete. Still, we’re guessing there’s a reason of some sort it’s listed, but we’re still struggling to find the patience required to see this whole thing through.
Here’s a news flash: Cell-phone cameras be damned, because a significant segment of the population is actually prioritizing sharp, well-exposed images over ultimate convenience. Since the introduction of the first Canon Digital Rebel in 2003, this quality-conscious segment has been turning to interchangeable-lens digital SLRs (DSLRs) to take the best possible photos.
Back in the 1970s and 1980s, we saw a similar movement, as more and more consumers purchased film SLRs. However, as small auto-everything 35mm point-and-shoot cameras began to be able to create SLR-like images, SLR sales dwindled. We’re on the precipice of the same thing happening in the digital world. Consumer DSLRs are going down.
Canon’s $1,900 EOS 7D DSLR just started shipping a month ago to pros and those who’d like to be, and already the thing is causing all sorts of fits when shooting continuously. In a service notice posted today on the outfit’s website, we’re told that images “captured by continuous shooting and under certain conditions [can exhibit] barely noticeable traces of the immediately preceding frame.” The phenomenon isn’t apt to be noticeable with optimal exposure, but apparently a number of Photoshoppers have been irked by the additional (and unwelcome) elements added to their shots. Canon assures us that a firmware fix is on the way, and you can bet we’ll point you to a download link as soon as it hits.
Pentax’s K-x has been shipping in various corners of the globe (in varioushues) for a hot minute now, but at long last the entry-level DSLR has found itself on the test bench. The good folks over at Tech Radar were able to take the $650 shooter for a spin, and with few exceptions, they absolutely adored it. Image quality was deemed fantastic, and without qualification, that’s easily the most important aspect of a camera. Critics also appreciated the build quality, rear LCD and ergonomics, though they did note that the 720p movie mode was “hit and miss.” They found it to be a good fit for novices and amateurs, and while they did feel that it was somewhat less comfortable to wield than Nikon’s D5000, they still maintained that it’ll be a great bargain when the street price falls just a bit. Tap the read link for the full skinny — but only if you feel compelled.
Earlier this week, we issued our first shooting challenge “fall leaves” to the photographers among you. And holy crap are there some impressive photographers among you.
First Place Wade Saathoff: Nikon D300, Nikkor AF 50mm f/1.4, 1/100th, f/3.2, ISO 320, 14 bit RAW, .nef converted using Raw Therapee and edited in Photoshop 7
Second Place Tess Davis: Sony A350, 18-70mm kit lens, f/4.5, 1/200s, ISO 100
Third Place Neal Rosenblat: Nikon D90, 50mm lens, f1.8, 1/2000
Thanks to everyone for making the first Shooting Challenge so much fun. And since these results are completely subjective, enjoy the full gallery below before mocking my taste in the comments. Still, I don’t think there’s a lousy shot in the bunch.
Epson’s P-6000 ($599.99) and P-7000 ($799.99) Multimedia Viewers were always a bit too rich for our blood, but those hemming and hawing might just have the final bit of motivation they need to pull the trigger. A forthcoming firmware update for the 80GB and 160GB (respectively) photo viewers brings along a hotly-anticipated new feature: tethering. Put simply, pro shooters (and novices, we guess) can now connect select Nikon and Canon DSLRs to their photo viewer via USB, and in real time shots will be simultaneously captured to the camera’s memory card and the viewer’s hard drive. Moreover, the update includes a remote shutter release function for added convenience, though we’re sad to say that the retail pricing of these buggers hasn’t budged. If you’re a proud owner already, keep your eyes glued to Epson‘s support site — the download should go live in “late-October.”
The D3s‘s impact on photography won’t be nearly as dramatic as the D3—the camera that started the low-light arms race—but we got to shoot with it, and really, you’ve never seen nicer low-light images in your life.
I had around two hours to shoot with a pre-production model of the tank-like D3s at New York’s Big Apple Circus, hence all of the scary clowns and very flexible folks. Since low-light performance is what you’re probably most interested in, I’ve broken down the sample shots into galleries by ISO speed. Overall, shots at ISO 6400 are the cleanest I’ve ever seen at that ISO rating—just think about that for a second—and ISO 12,800 photos are unquestionably usable for even large web photos (like 1000×1000 pixels). Of course, the pictures at ISO 102,400 have ridiculous grain and you’d never use them for anything but novelty, but consider that we really are talking light sensitivity on the order of night vision. It’s a remarkable achievement for achievement’s sake.
All of the photos here are from JPEGs straight out of a pre-production D3s, with no retouches. They were resized, but I’ve included shots of 100 percent zoom close-ups above the galleries.
These two series are shot at the exact same shutter speed, adjusting only the ISO, so you can get a sense of how much extra light the cranked ISO absorbs.
I’ve also cut together some of the 720p video I shot. The video mode’s a little confusing to use at first, since the “shutter speed” is how adjust exposure in video mode, but the results are nice, even if they’re not in 1080p. The clip was always shot at an ISO rating of at least 3200 (I was fiddling with the ISO throughout), and the second half makes use of a boom mic for stereo.
There are four Micro Four Thirds cameras on the market right now. That’s it. But with Panasonic’s GF1, investing in the mini genre makes more sense than ever—if you know what you’re getting into.
What the &*^@ is Micro Four Thirds?
Olympus and Panasonic co-developed what’s called the Micro Four Thirds standard just last year. The biggest difference to the eye is the smaller-than-SLR lens mount that incompatible with SLRs unless you deploy an adapter. Internally, the standard ditches the mirrors used in SLRs and uses a four thirds CMOS (not micro four thirds chip!) to capture the image straight from the lens (just like a point and shoot). That sensor is roughly 30% smaller than that found in your average dSLR but 9 times bigger than what’s in your average point and shoot. The result is a camera ever so slightly smaller than a dSLR that should give you a similar end image quality.
The end camera is just a tad smaller than a baseline dSLR: But it’s still way bigger than your average point and shoot:
The big not-so-secret
There are only four products on the market at this point (Panasonic G1, its video-centric brother, the GH1, Olympus E-P1 and, of course, the Panasonic GF1), and they all have the exact same 13MP Panasonic sensor. But only the latest two, the GF1 and the E-P1, have taken advantage of the smaller technology to create design-forward cameras.
The spoiler
However, if you’re going to buy one of these cameras, you probably want the GF1 ($900 with 14-45mm lens). It couples all the good stuff from Panasonic’s existing line with a retro body that’s eerily similar to the Olympus E-P1.
The build
The GF1 is too big, and it’s too heavy. The Panasonic GF1 is indeed smaller than my Canon XTi, but it still won’t fit in your pocket.
Yet I love carrying it around. Why? The body feels solid, as if it’s from another era, a Utopian time when men were men and companies built hardware to last—before we valued sissy silver painted plastic more than the metal it was emulating.
The GF1 (and the Olympus E-P1 for that matter) feels like a small tank in your hands, an element of war that won’t give up after being tossed in a bag recklessly. If dropped on an iPod from over 3 feet, the iPod would certainly be crushed. There are neither too many buttons nor too few. A familiar circle rotates between shooting modes naturally and burst and timer modes share a switch right in front of it. A d-pad toggles functions like ISO while a clever clicking dial allows you to adjust shutter speed and f-stops. A few buttons earn their very own functions, like focusing mode, exposure lock and, maybe most cleverly, video. Hitting this little button to the right of the shutter release switches you to video no matter what mode you’re in.
Given the almost retro-style build, however, it was tough for me to lose an optical viewfinder (though a digital optical add-on is available). It’s a heavy camera to hold outstretched while framing shots on the viewfinder. But luckily, the 3-inch LCD’s 460,000 pixels mean you can just manage to find critical focus, thanks to the screen auto-zooming to your subject during manual focusing, though it can be tough to be sure you’ve really nailed it.
That screen resolution is below a premium dSLR, but it’s about twice as sharp as the E-P1—and you’ll notice. And then there’s the flash. Unlike the E-P1, the GF1 has one of these bad boys, and Panasonic has celebrated that fact by designing what must be the most complicatedly mechanical flash on the market. Watching it snap from the camera body is both impressive and worrisome. Can these little struts really hold up? Regardless, it’s handy to have, even though a perk of buying such a big, expensive camera is avoiding flash photography.
Honestly, there’s not much we can say about the quality of the GF1’s sensor that hasn’t been said (by us, even.) The biggest particular problem is ISO noise, as you can see in the gallery below. Bottom line: the GF1 supports ISOs up to 3200, but you probably don’t want to reach beyond 800. However, with that disclosure out of the way, I’d like to make a few points.
1. Shooting on the GF1 feels like shooting on an SLR. I’m not just talking about the ease of tweaking advanced controls. I mean, you pull the trigger, the camera takes a shot RIGHT THEN. For dSLR owners, that’s nothing new. For P&S owners, that’s a revelation.
2. There is undoubtedly more noise with Panasonic’s sensor in high ISOs than you could find in dSLRs for a similar price. But, the image quality you can achieve—I mean that intangible mix of sensor size and great glass that makes your photos feel professional—is undoubtedly beyond the realm of point and shoots, well in the SLR ballpark.
The BEST shot I was able to recreate of that watch above on my Canon P&S? Needless to say, pretty gross stuff.
3. The Live View system features what’s, hands down, the best function I’ve ever see on any Live View system yet. Holding a Shutter Mode Effect button previews the motion blur you can expect in your final shot—saving you the heartache of the perfect preview and horrible blurry-faced end product we’ve all experience on point and shoots. The only catch? The system didn’t work well in daylight, when you might want to use Live View to preview sports motion blur. Note that this car didn’t blur at all in my preview, nor did about 20 similar test shots I took in identical conditions. However, low light tests worked fine. The 720P video I’d describe as solid but not extraordinary. The AVCHD (or motion JPEG) video, while inherently better than P&S systems or Mino HDs, is not razor sharp. Without side by side comparisons or the wonderful popping colors you get with a bit of sunlight (it rained through my entire testing period), I can’t make any definitive statements. But what I’ve seen from the T1i seems better (richer colors, sharper figures), and not just because it’s 1080P.
Versus the EP-1
There are definitely a few key advantages to buying a GF1 instead of Olympus’ E-P1. They include: • Sharper screen • Faster autofocus (I’d estimate about 3x faster—it’s noticeable) • Built-in flash (the Olympus requires an optional mount)
But it should be noted, the E-P1 has its image stabilization inside its body while Panasonic relies on its IS kit lens. In other words, every lens the Olympus uses will have inherent image stabilization. Also, Olympus allows autofocusing on all Micro Four Thirds and Four Thirds lenses. The GF1 can accept these lenses, but it only retains autofocus on its own brand. So lens fanatics may find the E-P1 the better bet. And if you find one or the other on some super sale, well, it’s a toss-up.
Confession
The real reason I enjoyed shooting on the GF1, and the real reason you’re interested in Micro Four Thirds if you are indeed interested, has nothing to do with practicality.
I just feel cool using it. I like walking around Chicago with the GF1 on my shoulder. It gives me that feeling of Leica superiority without the expense. The Micro Four Thirds system may have originated in Japan, but the romance of shooting on the latest systems is purely European. For the first time in a long time, a piece of electronics has made me long for an era and a place that I never knew.
Every soccer mom tourist in Chicago has a dSLR. They may take prettier photos than I do, but damn do I long to be different once in a while. And I’m here to say that, if you crave a Micro Four Thirds for the same reason, it’s my opinion that the GF1 works well enough that, well, that’s OK. I’m just not trading my dSLR for one.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
Incredibly solid build
Video is good, not great
Same CMOS found in earlier version/competition