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Posts Tagged ‘fullframe’

Nikon Z5 is an entry-level full-frame camera that doesn’t cut corners

21 Jul

Nikon has announced the Z5, an entry-level full-frame camera that uses the Z-mount. The Z5 has much in common with the Z6 (priced $ 600 higher), including its in-body image stabilizer, autofocus system, and a lot of design aspects.

The Z5 has a 24MP FX-format CMOS sensor – not the BSI variant used in the Z6 – but features the same Expeed 6 processor. The Z5 has in-body image stabilization that can reduce shake by up to five stops (per CIPA).

While the Z6 features an all magnesium-alloy chassis, the Z5 employs polycarbonate for its rear and base plates, but remains sealed against dust and moisture, to the same level as the higher-end models. The top plate has been simplified, with a traditional mode dial in place of the Z6/7’s status screen. The Z5 is the same size and exact weight as the Z6, at 675 grams (1.5 pounds).

The Z5 features a large OLED viewfinder with 3.69 million dots as well as a tilting 3.2″ touchscreen. Unlike the Z6/7 it offers dual SD card slots that support UHS-II speeds. It uses a new EN-EL15C battery, which offers 470 shots per charge using the LCD and 390 shots with the viewfinder. The camera is backward compatible with other EN-EL15 batteries: just expect fewer shots per charge. The Z5 can use the same MB-N10 battery grip as the Z6 and Z7. The camera supports USB Power Delivery for charging and powering the camera during operation.

Video is less of a focus on the Z5. It can capture 4K/30p video, though there’s a 1.7x crop to contend with. Video recorded at 1080 uses the full width of the sensor. Nikon did not include any high speed video modes on the Z5. The camera has both headphone and mic sockets.

The Nikon Z5 will be available in three kits: body only for $ 1399, with the new 24-50mm F4-6.3 lens for $ 1699, and with the versatile 24-200 F4-6.3 VR for $ 2199.

Official sample photos

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Press release

EMBARK ON THE FULL-FRAME MIRRORLESS JOURNEY: NIKON UNVEILS THE Z 5, AN INNOVATIVE AND FEATURE-RICH MIRRORLESS FX-FORMAT CAMERA FOR EMERGING CREATORS

Nikon Expands the NIKKOR Z Lens Lineup with the Addition of the Extremely Compact and Versatile NIKKOR Z 24-50mm f/4-6.3 as well as the new Z TELECONVERTER TC-2.0X and TC-1.4X; Nikon Also Announces Free Webcam Utility

MELVILLE, NY (July 21, 2020) – Today, Nikon Inc. announced the Z 5, the new full-frame (FX-format) entry-point into its award-winning lineup of Z series mirrorless cameras. The Nikon Z 5 combines sophisticated features inherited from the Z 7 and Z 6 with the benefits of Nikon’s next generation Z mount at an unprecedented value. For those new to mirrorless or creators looking to push the limits of their craft with the power of full-frame, the compact Z 5 will exceed expectations. With an incredibly robust feature set, including in-camera vibration reduction (VR) image stabilization (IBIS) and the perfect balance of seamless automation and full manual control, creators can effortlessly share their artistic passions, travel adventures and so much more.

Nikon also unveiled the new NIKKOR Z 24-50mm f/4-6.3, the shortest, lightest and most affordable full-frame zoom lens in the NIKKOR Z lineup. Designed for on-the-go creators, the 24-50mm lens is the ideal companion for Z series users who want to capture it all – from vast landscapes and cityscapes, to street photography and striking portraits.

“The Nikon Z 5 offers the next generation of creators a gateway into the full-frame Z series lineup, opening the door to the limitless possibilities of mirrorless photo and video capture, while providing the means to share their creativity with others,” said Jay Vannatter, Executive Vice President, Nikon Inc. “With the addition of the NIKKOR Z 24-50mm f/4-6.3, Nikon is introducing the smallest full-frame NIKKOR Z lens to date, providing an extremely lightweight, versatile option to help users pursue all creative endeavors, regardless of which Z series camera they use.”

Nikon Z 5: The Full-Frame Journey Starts Here
As the new entry point to Nikon’s full-frame mirrorless lineup, the Nikon Z 5 offers a lot of power and capabilities at an attractive price, empowering the next generation to begin their journey with the confidence to learn and grow as creators.

  • Incredible Image Quality: Featuring a powerful FX-format 24.3-megapixel CMOS sensor, the Z 5 is the gateway to the benefits of full-frame, helping creators to capture intensely detailed images, ultra-shallow depth of field and clean low-light shots with unrivaled consistency. From portraits that flatter, nighttime landscapes that astound and street shots that impress, the gorgeous tones, faithful colors, minimal noise, and revered Nikon color science all play a part to help users capture images that are true to their vision.
  • High Speed Performance and Processing: Engineered with the EXPEED 6, Nikon’s fastest image processor to date, the Z 5 is a dependable, high-performance tool designed for content creation. EXPEED 6 allows for a boost in processing power and energy efficiency while rendering subtle textures and small details with amazing results.
  • Stellar Low-Light Performance: With an ISO range up to 51,200 (expandable to 102,400), the camera effectively reduces noise, maintaining both high sensitivity and resolution to excel in low-light situations, making it ideal for shooting everything from low-light events to an all-nighter under the Milky Way.
  • Capture with Speed: With shutter speeds up to 1/8000, the Z 5 can capture fast-moving subjects with clarity including fast-action sports and wildlife. This higher maximum shutter speed enables photographers to better tame even the brightest mid-day light to unleash the potential of fast-aperture NIKKOR glass. When the moment strikes, the camera can also capture full resolution bursts at 4.5 fps with full AF/AE.
  • Silent and Smooth: The combination of the camera’s silent photography mode and In-Body 5-Axis VR stabilization provides quiet, stable shooting to document sensitive moments without distractions.
  • Vast Lens Selection: Whether shooting glamorous portraits from a studio on the sidewalk, long-distance wildlife, epic wide landscapes in the field or street photography, the growing lineup of NIKKOR Z lenses provides Z 5 users the versatility to capture incredible shots with sharpness across the frame and superior light gathering in any situation. For even more flexibility, the vast array of traditional F-mount NIKKOR lenses can be used via the Mount Adapter FTZ to enhance images with a unique focal length or beautiful bokeh, while gaining the benefits of in-body stabilization.
  • Dual UHS-II SD Card Slots: Equipped with two UHS-II card slots for overflow, backup or separating RAW and JPEG photos, the Z 5 enables photographers to shoot with extreme confidence when using widely available consumer SD cards.

Simple Yet Sophisticated for Expanding Creativity
A great option for emerging creators getting started, the Nikon Z 5 is packed with powerful tools and user-friendly controls to help users explore and capture their artistry with ease.

  • Focus Anywhere: The Z 5 boasts 273[1] on-sensor AF points, to quickly and accurately track subjects throughout the frame, while Eye-Detection AF capabilities help precisely capture the eyes of humans and animals. The wide array of AF points covers nearly the entire frame, and multiple AF modes allows the user to have pinpoint control or fully automatic assurance to easily lock onto a subject.
  • Easily Shift Gears: The Nikon Z 5 offers the ability to effortlessly switch between manual mode for the ultimate in control, as well as a large variety of automatic creative modes to help mirrorless users capture truly distinct images and video.
  • Creativity Built-in: Equipped with 20 Creative Picture Controls, and advanced features like Focus Shift Shooting and multiple exposure mode, users can compose unique images, produce extraordinary depth of field, or combine several shots and layer images on top of each other with the in-camera image overlay function.
  • Advanced Video Capture: The Z 5 makes it easy to document any creative vision in 4K UHD/30p[2] or in 1080/60p (full-frame). When recording video, the PDAF system is rapid to react, allowing users to quickly lock critical focus on subjects, and is fully customizable to fit any production style. In-camera VR image stabilization and electronic VR reliably eliminate the shake when shooting video, plus users get the added benefit of focus peaking and the ability to capture stills while recording.
  • Flexible Recording Modes: In addition to the traditional interval timer and in-camera time-lapse modes, the Nikon Z 5 is equipped with a new Time-Lapse Movie mode that gives users the best of both worlds for more streamlined movie making – the ability to use images from interval timer mode and create a time-lapse in-camera.
  • Unique Lighting Options: For enhanced creative control, the camera features a hot shoe, and is fully compatible with the Nikon Speedlight wireless lighting system.
  • Get Connected: The Nikon SnapBridge[3] app makes it easy to remotely control the Z 5 or seamlessly transfer and share content to a smartphone, tablet, Mac, or PC thanks to built-in Wi-Fi[4] and Bluetooth[5] connectivity.

Rugged Reliability and Engineered for Versatility
In addition to providing high-quality imaging capabilities, the Nikon Z 5 is compact and comfortable in-hand while promising the rugged reliability as well as innovative features and controls that Nikon is known for.

  • Legendary Nikon Build: Designed with a durable, weather-sealed exterior for worry-free use, the Z 5 employs the same magnesium alloy shell and robustness as the Z 6 and Z 7. Both the camera and NIKKOR Z 24-50mm f/4-6.3 lens are built with consideration for dust and drip resistance and are ready to tackle the next adventure.
  • Functional Operability: The camera sports a powerful, high-resolution 3.2-inch LCD monitor with the capabilities to tilt, touch, tap, swipe, and pinch for an intuitive and flexible user-experience. Meanwhile, the 3.6M-dot Quad-VGA EVF ensures users can see exposure, ISO, white balance and creative picture controls in real time, making the transition from optical viewfinders seamless for new mirrorless shooters.
  • Packed with Power: Powered by the new EN-EL15c battery, the Z 5 offers significant advancements in the number of shots per charge and is the first Nikon camera to enable constant power through the USB port, even with select portable USB power banks[6]. For added power and grip, the camera is also compatible with the MB-N10 hot-swappable battery pack.
  • Webcam Ready: When connected via the USB-C cord, the Z 5 can be used as a webcam, making the camera a great option for modern vloggers, influencers and gamers looking to improve their livestreaming capabilities.

NIKKOR Z 24-50mm f/4-6.3: Portable, Yet Powerful
The NIKKOR Z 24-50mm f/4-6.3 is the latest addition to the rapidly expanding lineup of NIKKOR Z lenses and is the smallest FX-format NIKKOR Z lens yet. Optically designed to take advantage of the advancements of the wide Z mount, this lens delivers sharpness across the entire frame and a versatile zoom range for everyday use. The 24-50mm is less than three inches long when retracted, making it the perfect lens for shooters seeking a versatile yet compact option for lightweight travel and street photography. When used together, the Z 5 and 24-50mm lens are the ideal discrete travel kit that can easily be packed and carried for all-day adventures. This compact NIKKOR Z lens is also an enticing option for Z 6 and Z 7 users who want a small all-around lens for portraits, landscapes, and street photography.

New Z Teleconverters Take NIKKOR Z Lenses to New Lengths
Designed for photographers and videographers who need more telephoto reach in their kit, the new Z TELECONVERTER TC-1.4X and Z TELECONVERTER TC-2.0X bring added versatility with 1.4x and 2.0x magnification to select NIKKOR Z lenses. These lightweight teleconverters are great tools for those photographing sports, wildlife and aviation, reducing the need to crop images and allowing for tighter compositions with maximum resolution.

The new TC-1.4X and TC-2.0X teleconverters maintain superior rendering performance and minimize various lens aberrations, while retaining focusing speed, VR functionality and minimum focusing distance. As an added benefit, the new teleconverters allow Nikon Z series cameras to retain functionality on all focus points up to f/11, making it easy to focus on and track subjects throughout the entire frame. Featuring the same robust construction as NIKKOR Z lenses, the teleconverters are designed with a fluorine coating on the front and rear elements to resist dirt and smudges, and offer a durable, weather-sealed body to protect against the elements.

When the teleconverters are used with the NIKKOR Z 70-200mm f/2.8 VR S (availability scheduled for late August), the focal length on the telephoto end is extended to 280mm (1.4x) or 400mm (2.0x) producing a significant expansion of this telephoto lens’ shooting range. These new teleconverters will also be compatible with applicable interchangeable lenses for Nikon Z mount mirrorless cameras that Nikon will release in the future.

New Webcam Utility Software for Nikon Cameras
In August, Nikon will release a beta version of the Webcam Utility software for many Nikon DSLR and Z series mirrorless cameras, including the new Z 5. Initially available for Windows 10, the free software will allow compatible Nikon cameras to be used as webcams. When connected via USB, this free software will provide users with incredible sharpness, clarity and flattering depth of field for all of their livestreaming needs including teleconferencing and gaming.

For more information on how to use your Nikon camera as a webcam, please visit https://www.nikonusa.com/en/learn-and-explore/live-streaming-with-nikon-cameras.page

Pricing and Availability
The Nikon Z 5 will be available in August in several configurations, including body-only for a suggested retail price (SRP) of $ 1,399.95*, a one-lens kit with the new NIKKOR Z 24-50mm f/4-6.3 for an SRP of $ 1,699.95* and a one-lens kit with the NIKKOR Z 24-200mm f/4-6.3 VR lens for an SRP of $ 2,199.95* for those seeking extra reach when photographing wildlife or travel adventures. Also available in August, the NIKKOR Z 24-50mm f/4-6.3 lens can be purchased separately for an SRP of $ 399.95*. The new Z TELECONVERTER TC-1.4X and TC-2.0X will have an SRP of $ 549.95 and $ 599.95 respectively and will be available in late August.

For more information on the latest Nikon products, including the new Z 5 and NIKKOR Z 24-50mm f/4-6.3 lens, as well as the full Nikon Z mount system, please visit?www.nikonusa.com.

Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

1. With recording of still images using the FX-format image area and single-point AF. 231 focus points with movie recording.

2. When using this mode, the frame is cropped approx. ×1.7.

3. Using the SnapBridge App System Requirements:

a. Android 5.0 or later or 6.0.1 or later
b. A device with Bluetooth 4.0 or later (i.e., a device that supports Bluetooth Smart Ready/Low Energy) is required.
c. The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the AndroidTM operating system. The app can be downloaded free of charge from Apple’s App Store® and GooglePlayTM. SnapBridge can be used only with compatible cameras.

4. This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.

5. The camera’s built-in Bluetooth® capability can only be used to connect the camera to a compatible smart device running the SnapBridge app, and to take advantage of SnapBridge features.

6. Anker PowerCore+ 26800 PD 45W is the recommended portable charger. Use a USB cable with two Type-C connectors supplied with the portable charger. For more information about the portable charger, please visit the manufacturer’s website: Anker.com/support

Nikon Z5 specifications

Price
MSRP $ 1399 (body only), $ 1699 (w/24-50mm lens), $ 2199 (w/24-200mm lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy, composite
Sensor
Max resolution 6016 x 4016
Image ratio w:h 1:1, 3:2, 16:9
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size Full frame (35.9 x 23.9 mm)
Sensor type CMOS
Processor Expeed 6
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-51200 (expands to 50-102400)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 102400
White balance presets 12
Custom white balance Yes (6 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, normal, basic
File format
  • JPEG
  • Raw (NEF, 12 or 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 273
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3.2″
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 200%
Viewfinder magnification 0.8×
Viewfinder resolution 2,369,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, off
Flash X sync speed 1/200 sec
Continuous drive 4.5 fps
Self-timer Yes (2, 5, 10 or 20 secs)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types Dual SD/SDHC/SDXC slots (UHS-II compatible)
Connectivity
USB USB 3.2 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac (dual band) + Bluetooth
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description EN-EL15c lithium-ion battery & charger
Battery Life (CIPA) 470
Weight (inc. batteries) 675 g (1.49 lb / 23.81 oz)
Dimensions 134 x 101 x 70 mm (5.28 x 3.98 x 2.76″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Tokina’s new 400mm F8 mirror lens for full-frame, APS-C mounts will ship in August

20 Jul

Tokina has announced the upcoming release of its new SZX Super Tele 400mm F8 Reflex MF, a mirror (or reflex) lens for select full-frame and APS-C camera systems.

The 400mm F8 lens manages to pack an impressive focal length into a relatively compact frame thanks to its catadioptric design. Usually reserved for telescopes, this design choice makes the smaller design possible, but at the cost of having the signature ‘donut’ bokeh, the lack of autofocus and having a fixed aperture.

The lens is constructed of six elements in five groups, offers a 1:2.5 magnification ratio and measures in at just 355g (11.82oz). It’s 74mm (2.91”) diameter and 77mm (3.03”) in length.

To make the lens as versatile as possible, the SZX Super Tele 400mm F8 Reflex MF has a 0.75mm pitch and 42mm thread mount that can be used with adapters to work with nearly any camera system. In addition to offering the base lens without an adapter, Tokina is also selling versions with included adapters for Canon EF, Nikon F, Sony E, Fujifilm X and Micro Four Thirds camera systems.

Below are a few sample photos taken with the lens, provided by Tokina:

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Tokina says the lens is set to launch on August 7, but no pricing information has been given at this time. You can find out more about the lens and its design philosophy on Tokina’s product page.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics releases the Laowa 9mm F5.6 rectilinear lens for full-frame mirrorless cameras

30 Jun

Venus Optics has announced the release of the Laowa 9mm F5.6 FF RL, a lens that takes the title of the world’s widest rectilinear lens for full-frame camera systems.

The lens features a 135-degree angle of view and is constructed of 14 elements in 10 groups, including two extra-low dispersion elements. It isn’t one of Venus Optics’ ‘Zero-D’ lenses, but it features ‘very low’ distortion, which makes it a solid option for landscape, architecture and real estate photography.

A comparison photo showing the difference between a 15mm and 9mm focal length on a full-frame sensor.

In addition to the ultra-wide field of view, the lens also features an incredibly short minimum focusing distance — just 12cm (4.72”) and uses a five-blade aperture diaphragm. The lens measures 60mm (2.4”) in both length and diameter and weighs just 350g (12oz).

Below are a few sample images from Venus Optics:

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The Laowa 9mm F5.6 FF RL is available in Leica M, Sony FE, Nikon Z and L-mount. This marks the first time Venus Optics has designed a lens for Leica M-mount and to celebrate the occasion, Venus Optics is releasing the M-mount version in black and silver varieties. the Leica M-mount version costs $ 900, while the Sony FE, Nikon Z and L-mount versions costs $ 800.

Articles: Digital Photography Review (dpreview.com)

 
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Sony to Potentially Announce Sub-$1000 Full-Frame A5

29 Jun

The post Sony to Potentially Announce Sub-$ 1000 Full-Frame A5 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

dps-sony-a5-possibility-news

Yes, it’s possible:

Sony may announce an entry-level full-frame mirrorless camera, potentially called the a5, positioned at a price below $ 1000 USD.

This information comes from Sony Alpha Rumors, which labels the rumor as “wild” and notes that it comes from an indirect channel. However, Sony Alpha Rumors also acknowledges a few pieces of evidence:

First, Sony recently registered a pair of cameras, one of which “is a high-end camera” while the other is “a more consumer-oriented camera.” Both will launch in the coming months; a more recent rumor suggests that the high-end model will debut toward the end of July, with the consumer-oriented model released in the August/September timeframe.

We already know that the high-end body is the Sony a7S II successor, likely called the Sony a7S III, and positioned as a professional video/stills hybrid.

The Sony a5 may be announced

But what about the other camera?

Well, if this rumor is correct, it would be the A5. A reliable report does suggest that Sony will be releasing a “new kind of full-frame camera,” and an entry-level full-frame model would surely fit the bill.

A sub-$ 1000 full-frame camera is certainly within the realm of possibility. Canon’s EOS RP is currently available for around $ 900 USD, and the EOS 6D Mark II comes in at $ 1200. But up until now, Sony has been focused mainly on three distinct camera lineups:

The full-frame a7X series, including the a7S II, the a7R IV, and a7 III models.

The APS-C a6X00 series, including the a6400, a6100, and a6600 models.

And the full-frame a9 series, which consists of the a9 and the a9 II.

This means that an a5 would offer a lot of potential for Sony, assuming the company can position it well. An a5 could allow long-time Sony a6X00 users to upgrade for improved image quality, offering a bridge between the a6X00s and the a7Xs. And plenty of Nikon and Canon photographers looking to jump on the Sony bandwagon could be enticed by such an affordable full-frame option, giving Sony the opportunity to pitch its higher-end products to more customers.

Of course, this is all speculation, but I can’t help but feel excited at the prospect of a Sony a5!

How about you? What do you think about the possibility of an a5? Is it a camera you’d be interested in? And what do you think it would offer? Share your thoughts in the comments!

The post Sony to Potentially Announce Sub-$ 1000 Full-Frame A5 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Nikon to Release Full-Frame Z5 and APS-C Z30

11 Jun

The post Nikon to Release Full-Frame Z5 and APS-C Z30 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

dps-nikon-z5-and-z30-news

For months now, we’ve been hearing rumors about several new Nikon cameras debuting in 2020.

But just last week, Nikon Rumors revealed several nuggets of information regarding these new mirrorless models.

First, one of these cameras will likely be called the Nikon Z5, and will be a full-frame mirrorless body a step below Nikon’s current Z6.

The other Z-series model is labeled the Nikon Z30, which will sit underneath Nikon’s Z50 as the second APS-C mirrorless model in Nikon’s lineup.

Nikon Rumors also predicts a Nikon professional mirrorless camera (often referred to as the Nikon Z8 or the Nikon Z9) coming in “late 2020 or in early 2021.”

Nikon Z30 and Nikon Z5 may soon be released

Thus far, Nikon’s mirrorless lineup has remained fairly limited, especially when ranged against competitors such as Sony and even Canon. Aside from the Nikon Z50, which debuted in October 2019, we’ve seen no new mirrorless models from Nikon. So the predicted Nikon Z30 and Nikon Z5 should inject some much-needed options into the Nikon ecosystem, especially for entry-level snappers who require a more powerful alternative to compact cameras, smartphones, and APS-C DSLRs.

The truth is, Nikon has lagged behind both Sony and Canon in the mirrorless race. It wasn’t until last year that Nikon offered a single APS-C mirrorless body, the Z50, a camera that remains out of the reach of many consumers thanks to its near-$ 1000 USD price tag. The addition of a Nikon Z30 should help round out the bottom part of Nikon’s lineup, and hopefully indicates Nikon’s commitment to expanding into the affordable mirrorless market.

On the other end of Nikon’s lineup, we have the Z6 and Z7. But while these two cameras are well-regarded in the photography community, Nikon still lacks a full-frame model positioned against the Canon EOS RP, as well as (potentially) the upcoming Canon EOS R6, a gap which the new Z5 will likely seek to fill.

Interestingly, another recent rumor suggests that the Z5 may not include a built-in electronic viewfinder, but will instead offer it as an accessory. Personally, I find this questionable; if Nikon decides to test this design, I’d expect it to happen in one of the lower-end cameras, potentially even the Z30. But not in the Z5, Nikon’s only full-frame mirrorless body to debut since 2018.

Regardless, we should know soon enough! And if you’re a photographer looking for a cheaper Nikon mirrorless body, keep your eyes peeled. We should have more news before long!

Now over to you:

Which of these mirrorless models are you more excited about? And do you think Nikon would drop the built-in EVF on the Z5? Let us know your thoughts in the comments!

The post Nikon to Release Full-Frame Z5 and APS-C Z30 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Tamron teases new zoom lens for full-frame Sony E-mount cameras

29 May

Tamron already has six full-frame Sony E-mount lenses in its lineup, but there’s another on the way. In a video shared on its YouTube channel earlier today, Tamron teased a new full-frame E-mount lens that appears to be a mid-range zoom lens.

The 18-second clip, embedded below, doesn’t divulge any additional details about the lens, but it does link to Tamron’s E-mount lens lineup page that shows how the forthcoming lens will stack up in size compared to the six current full-frame E-mount lenses — three primes and three zooms.

You can also see in the lineup photo the new lens will have what appears to be a focus locking switch sandwiched between the focus and zoom rings. Tamron’s 70–180mm F2.8 Di III VXD lens is the only current full-frame E-mount lens in the lineup to offer this switch.

We’ll keep you up to date, but you can also keep an eye on Tamron’s website for more information. There’s also Tamron Japan’s website, which sometimes posts press releases ahead of the U.S. site.

Articles: Digital Photography Review (dpreview.com)

 
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Lenses for mirrorless: how Canon, Nikon, Panasonic and Sony full-frame options compare

01 May
The move to mirrorless by some of the industry’s biggest players put the focus on their new lens lineups.

In our recent look at ~$ 2000 full frame mirrorless cameras, we said that choosing between them is as much about buying into a lens system as anything else. In this article, we’re going to have a look at the four full-frame mirrorless systems to see what they offer and where they might yet go.

This article isn’t a question of ‘which range is biggest,’ it’s to help show which lineups have the lenses you might need for your photography.

As well as the lenses currently available, we’ll consider the degree of support provided by third-party lens makers and briefly discuss some of the technologies involved.

Sony E-mount

When it comes to full-frame lenses for mirrorless, Sony has the biggest head start. Sony introduced its full-frame ‘FE’ range alongside the original a7, back in late 2013, and already had several years experience of making APS-C E-mount lenses by that point.

Sony has also taken the unusual move of allowing third-party lens makers access to its lens mount specifications and communication protocol. This has allowed companies such as Sigma, Tamron, Tokina and Zeiss to expand the range of available lenses for Sony photographers. In the case of Sigma, these include existing DSLR optical designs as well as new, dedicated optical formulations for mirrorless.

Primes

Zooms

All
Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of April 2020.

In addition to covering most of these bases, Sony has had time to add specialist lenses, such as 600mm F4, 400mm F2.8, 100-400mm and 200-600mm telephoto options, equivalents to which aren’t currently available for other systems.

Starting earlier has given Sony time to provide a wider range of lenses, including less obvious options such as the 135mm F1.8 GM

Sony says that the years it’s spent making large lenses for mirrorless camera has allowed it to develop expertise in the types of motors best suited for full-frame mirrorless lenses (the need to drive lenses smoothly for video, as well as quickly means the requirements aren’t the same as for DSLRs). However, while it’s true that Sony’s adoption of technologies such as linear motors and piezoelectric drive provides its more recent lenses with impressively fast, smooth focusing, be aware that some of the company’s earlier lenses don’t always show this same performance.

Canon RF-mount

Canon’s RF lens lineup thus far has shown a distinct focus on the needs of professional users, with many of its first lenses belonging to the premium ‘L’ range.

Canon hasn’t opened up its lens mount to other makers, so there’s limited third-party support available at the moment. If the RF mount gains anything like the popularity that the EF mount did, it’s extremely likely that other companies will find a way to offer autofocus lenses, but widespread third-party support for RF may be some years away.

Primes

Zooms

All
Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of April 2020.

Canon currently uses a variety of motors in its RF lenses: primarily using the company’s fast, smooth ‘Nano USM’ technology and the ring-type USM motors that underpin most of its high-end DSLR lenses. These ring-type motors appear to work pretty well with Canon’s dual pixel AF system but aren’t always the smoothest or fastest, especially given that they tend to be used in the lenses with large, heavy lens elements that need to be moved.

The RF 35mm F1.8, meanwhile, uses a small stepper motor, which makes it noticeably slower and noisier to focus than the best of Canon’s other mirrorless lenses.

Nikon Z-mount

Like Canon, Nikon has not yet opened up the Z-mount to third-parties, which currently limits your autofocus choices to Nikon’s own lenses.

However, Nikon’s initial build-out strategy looks very different from Canon’s: Rather than starting with exotica, Nikon has provided a range of comparatively affordable/portable F1.8 primes, alongside a set of F2.8 and F4 zooms.

Primes

Zooms

All
Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of April 2020.

In terms of focus motors, Nikon seems to primarily be relying on the use of small stepper motors for its lenses so far, which offer decent performance but don’t appear to match linear motors or Canon’s Nano USM technologies for either speed or smoothness. Twin focus groups help to give accurate focus even close-up, in some of Nikon’s zoom lenses, which can also improve on the often modest speeds of single-motor designs.

L-mount: Panasonic, Leica and Sigma

Panasonic, along with Sigma, has aligned itself with Leica by adopting the ‘L’ mount for its full-frame mirrorless cameras. This instantly gives it access to an established lens range (though, like Sony’s, one that is built around a mount originally focused on APS-C). Sigma’s inclusion in the alliance should ensure a wide range of third-party L-mount lenses become available.

All Panasonic cameras so far have been based around the company’s Depth-from-Defocus (DFD) AF system. The degree to which lenses from other members of the L-mount alliance are optimized to this system is not clear at this point. We’d expect Leica’s lenses, which are designed around a distinctly DFD-like approach to work well but we don’t know how closely Sigma has yet embraced the DFD concept. For now we wouldn’t expect the same consistency across native L-mount lenses that we’ve seen from the single-maker systems, but we’d expect Sigma to be working to maximize compatibility.

Primes

Zooms

All
Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of April 2020.

Panasonic’s lenses primarily make use of linear focus motors, but use a combination of linear and stepping motors for lenses such as the 50mm F1.4 and its 70-200s that require more glass to be moved around.

DSLR lens support

If you already own a selection of DSLR-mount lenses, then you’ll find that with the right accessories, you can mount them on any of these camera bodies. Since the mirrorless mounts are all shallower, this leaves plenty of room to put an adapter between the lens and body. The performance you get will vary, though.

Canon frequently bundles one of its EF-to-RF adaptors with its RF-mount cameras, and it makes three variants (a simple pass-through tube, another with a control ring around it and a third that lets you drop a choice of filter between the lens and the camera). The dual pixel AF system, combined with Canon’s knowledge of its communication protocol means EF lens users will get probably the best adapted lens experience when using Canon RF-mount bodies. That said, we still wouldn’t necessarily expect DSLR-level performance from all EF lenses when adapted.

Unsurprisingly, you tend to get the best adapted performance if you use DSLR lenses on the same brands’ mirrorless bodies. Don’t expect DSLR levels of performance, though.

Various companies also make EF-to-E adaptors, allowing EF lenses to be used on Sony bodies. And, while not quite as consistent as Canon-on-Canon combinations, we’ve had good experiences with this combination, though generally only with shorter focal lengths. Meanwhile, Sigma makes the MC-21 adapter for using EF lenses with L-mount bodies but, without phase detection AF in any of those cameras, continuous AF is not available.

Nikon also offers kits that include its ‘FTZ’ F-to-Z mount adaptor with some of its camera bodies. This provides a decent level of support for existing lenses but does not contain a focus drive motor, so can only autofocus lenses with their own motors (AF-S, AF-P and AF-I lenses and their third-party equivalents). F-to-E adapters are available, but performance can vary, lens-to-lens, making it more of a gamble.

As you’d probably expect, then, older lenses tend to work most reliably with the cameras made by the same brand. However, they can be used on other systems, so depending on how extensive your existing lens collection is, you may find you can make do with lowered performance, rather than having to sell-up and start again, if you don’t want to remain bound to the whims of the maker of your DSLR.

Summary

As you’d expect, Sony’s nearly five-year head start and openness towards third-party makers has let it build up a significant advantage over its rivals, but all four mounts are already starting to see key holes in their respective lineups being filled.

In the long run, it’s likely that all four systems will be extended to offer a range of mid-range, as well as high-end primes and zooms, but it’s pretty clear that initially, Nikon and Canon are focusing on different sets of users.

Third-party support provides more options in young lens systems.

Nikon and Canon’s decisions to keep their mounts closed to competitors means they can control the consistency of experience for their users (with no risk of a third-party lens offering sub-standard AF speed or smoothness, for instance), but with the downside that you’re entirely dependent on that company’s development priorities, unless you’re happy to take your chances with simple manual focus options.

It’s the third-party makers and their ability and willingness to produce fully-compatible lenses that will be interesting to watch. The adoption rate of Sony E-mount cameras and the availability of the lens protocols is likely to mean most future third-party lenses will be designed around this mount but it’ll be interesting to see which other systems this support gets extended to.

Articles: Digital Photography Review (dpreview.com)

 
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Full-frame mirrorless compared: Z6 vs. S1 vs. EOS R vs. a7 III

28 Apr

The end of 2018 saw Canon and Nikon introduce their first full-frame mirrorless cameras, with Panasonic on the verge of joining the party. This brought an end to Sony’s five-year term as sole purveyor of this type of camera and set out each company’s post-DSLR ambitions.

In July of 2019, we looked at three of those cameras and concluded the a7 III was the strongest all-rounder: the model that was pretty good at everything. However, despite the five-year head start, it was a far from universal or emphatic victory.

Now that the lens lineups have been better fleshed-out and firmware updates have provided some additional polish, we thought it was time to take another look at the circa $ 2000 full-frame mirrorless cameras, their lens options and how they now stack up.

More than just a body

Perhaps more than at any time in the industry’s history, we’re seeing the big camera makers adopt new lens mounts for some of their leading products.

This is likely to present the lowest-barrier opportunity for most users to consider a change of system since most DSLR lenses can be adapted to some degree onto any of the new systems. DSLR users should think seriously about whether the benefits of persisting with thier current camera brand is worth a short-term retention of potentially better lens compatibility, or if this would be outweighed by taking this opportunity to switch horses.

This could be the best moment for most users to consider a change of system

The temptation, of course, is to stick with what you know, and put the emphasis on the money already sunk into your lens collection. But it’s worth looking hard at whether your favorite brand’s new system is really the one best suited to your needs.

All of this makes a decision between different camera bodies more significant than in the past. In this roundup we’ll look at which of the cameras (with most current firmware) stand out for a series of common types of photography:

  • Family and moments
  • Lifestyle and people
  • Weddings and events
  • Portraits
  • Landscape
  • Sports and action
  • Travel photography
  • Video – Controlled shooting
  • Video – Run & gun

In a soon-to-follow article, we’ll look at where each of the lens systems has got to and where it’s going.

Specifications compared

Perhaps the most striking detail here is how few boxes can be marked in red or green. Aside from a few outliers (in-body stabilization and viewfinder resolution for example), there’s just not a lot to choose between them in terms of pure specification.

There’s not a lot to choose between them in terms of Raw performance, either. The Canon has higher nominal resolution and a smidge less processing flexibility, as a consequence of lower dynamic range. The other three cameras are almost certainly built around the same sensor, though, so the differences between them are even slighter.

This is where actually using the cameras comes in, as the reality is that they’re all significantly different in terms of ergonomics, user interface design, and AF performance. It’s these factors that end up making the cameras a good fit for different types of shooting.

Canon EOS R Nikon Z6 Panasonic S1 Sony a7 III
MSRP (body) $ 2299 $ 1999 $ 2499 $ 1999
Pixel count 30MP 24MP 24MP 24MP
Sensor tech CMOS BSI-CMOS CMOS BSI-CMOS
AF system

Dual Pixel
(On-sensor PDAF)

 On-sensor PDAF Depth from Defocus
(Contrast Detection-based)		 On-sensor PDAF
Image stabilization Lens only 5-axis 5-axis in-body + lens 5-axis
Maximum frame rate 8 fps (AF-S)
5 fps (AF-C)		 12 fps
(12-bit Raw)		 9 fps (AF-S)
6 fps (AF-C and live view)		 10 fps
Flash Sync speed 1/200 sec 1/200 sec 1/320 sec 1/250 sec
High Res mode No No Yes No
Viewfinder
res / mag		 3.68M dots
/ 0.76x		 3.68M dots
/ 0.80x		 5.76M dots
/ 0.78x		 2.36M dots / 0.78x
Rear screen 2.1M-dot fully articulated touchscreen 2.1M-dot tilting touchscreen 2.1M-dot two-way tilting touchscreen 921k-dot tilting touchscreen
AF joystick No Yes Yes Yes
Top-plate settings display Yes Yes Yes No
Backlit buttons No No Yes No
Video capture UHD 4K 30p
(1.83x crop)		 UHD 4K 30p
(full sensor)		 UHD 4K 30p
(full sensor)
UHD 4K 60p (1.5x crop)		 UHD 4K 24p
(full sensor)
UHD 4K 30p
(1.2x Crop)
Log modes C-Log
8-bit (internal)
10-bit (HDMI)		 N-Log
10-bit (HDMI)		 HLG
10-bit		 S-Log2 / 3 / HLG
8-bit
Paid video upgrade — Raw HDMI to Atomos Ninja V V-Log + tools
10-bit 4:2:2 30p (internal)
10-bit 4:2:2 60p (HDMI)		 —
Memory cards Single SD Single XQD 1 XQD + 1 SD Dual SD
Battery life (CIPA) LCD/EVF 370 (LCD) 380 / 310 400 / 380* 710 / 610
USB-charging Yes Yes Yes Yes
Shutter life rating 200k cycles 200k cycles 400k cycles 200k cycles
Dimensions 136 x 98 x 84 mm 134 x 101 x 68 mm 149 x 110 x 97 mm 127 x 96 x 74 mm
Weight (CIPA) 660 g 675 g 1017 g** 650 g

* With SD card: battery life rated at 380/360 shots with XQD card
** With SD card: 4g more with XQD

Articles: Digital Photography Review (dpreview.com)

 
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Pentax announces forthcoming 85mm F1.4 lens for its premium FA* full-frame lens lineup

24 Mar

Ricoh has announced it will release a new wide-aperture portrait lens for its full-frame cameras late this year, and that it will use the company’s Supersonic Direct-drive Motor to power the focusing system. The HD Pentax -D FA* 85mm F1.4 SDM AW with join the existing HD Pentax-D FA* 50mm F1.4 SDM AW and HD PENTAX-D FA* 70-200mm F2.8ED DC AW in a line-up of three models in the FA* range. Like the DA* lenses designed for APS-C cameras, these FA* models are intended to be premium quality and to represent a step-up from the standard lens series.

Pentax says that the new portrait lens uses three Super ED lenses to suppress chromatic errors while boosting contrast, and a single aspherical element to retain high resolution and focus across the frame. The aperture will be made from nine blades and the closest focusing distance will be 2.8ft. Although designed for the full-frame K-1 cameras, the KAF4 lens will also work on the company’s APS-C sensor cameras – due to the smaller sensor area it will offer the view that a 130mm focal length would on a full-frame model.

Pentax has yet to release the pricing of this new lens, but to give you an idea, the 50mm F1.4 FA* lens costs $ 1100/£1050 compared to $ 350/£400 for the standard SMC FA version.
For more information see the Pentax website.

Press release

Development of the new-generation D FA* high-performance single focus lens for digital SLR cameras

HD PENTAX-D FA* 85mmF1.4 SDM AW

RICOH COMPANY, LTD. and RICOH IMAGING EUROPE, SAS. are pleased to announce the development of the new-generation high-performance Star-series lens, the HD PENTAX-D FA* 85mmF1.4 SDM AW.

This product is the second “new generation D FA*” single focus lens following the “HD PENTAX-D FA* 50mm F1.4 SDM AW” which we presented as the first lens with a fixed focal length of the “New Generation D FA*”. This series is known for the perfect image quality and the lenses are characterized by the following parameters:

  • Best possible image quality with uniform sharpness from the center to the edges of the image.
  • Large aperture with a particularly expressive image effect.
  • High quality workmanship and materials with high robustness and easy handling

The D FA* 50mm quickly became one of the most popular lenses for the PENTAX 35mm system. Therefore many PENTAX photographers have demanded for an extension of this range of prime lenses. We are therefore pleased to announce the development of another lens in this series of high-performance lenses. With the HD PENTAX-D FA* 85mmF1.4 SDM AW, we follow the conquest of particularly high image quality without compromise.

Overview of the product under development

Model name: HD PENTAX-D FA* 85mmF1.4 SDM AW
Launch date: Scheduled to be launched in late, 2020

  • By incorporating three Super ED (Extra-low Dispersion) glass optical elements, it effectively compensates chromatic aberrations and produces brilliant, high-contrast images even from open aperture.
  • Adopts one aspherical lens and achieves high delineation performance with good correction of spherical aberration, coma and field curvature.
  • High speed and smooth operation with newly developed SDM (Supersonic Direct-drive Motor) equipped with high torque ring type ultrasonic motor
  • Developing as an AW (All Weather model) this lens features a dependable dustproof, weather-resistant structure to prevent the intrusion of water and dust into the lens interior.

Major Specifications

HD PENTAX-D FA* 85mm F1.4ED SDM AW

Focal Length 85mm
Max Aperture F1.4
Min Aperture F16
Angle of View 28.5 degrees
Mount KAF4
Min Focus Distance 0.85m (2.8ft)
Max Magnification 0.12x
Diaphragm Blades 9
Filter Diameter 82mm
Diameter/Length 95×123.5mm (3.7×4.9in)

Articles: Digital Photography Review (dpreview.com)

 
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Five reasons why Fujifilm probably won’t make a full-frame X100

17 Mar

Introduction

The X100 series is one of Fujifilm’s most popular and important product lines. Over the course of almost ten years, the company has built the X100 series into an iconic line of cameras, which established Fujifilm as a serious brand with enthusiasts, and continue to be best-sellers.

Ever since its introduction, some photographers have been asking Fujifilm to develop a full-frame version of the X100. And on the face of it, that’s an appealing thought. Who doesn’t like the idea of greater depth of field control and a boost in potential image quality? But we strongly suspect that Fujifilm will never do it. Read on for the five main reasons why not, and why we doubt that a full-frame version is on the cards, either.

Size and weight

The Sony Cyber-shot RX1R II is a very small compact camera with a 35mm F2 lens, but in order to make it so compact, compromises were made on ergonomics and battery life.

The X100V is a little bigger than previous iterations of the X100 series, but it’s still a relatively small camera, considering everything that Fujifilm has packed into it. One of the reasons for that is its APS-C sensor. A larger sensor would mean a larger imaging circle (which means a larger lens to achieve the same F stop), a larger shutter mechanism, and probably a deeper body, to accommodate the additional circuitry hardware, and to keep it cool.

Genuinely small full-frame cameras exist (the Sigma fp and Sony Cyber-shot RX1R II spring to mind) but with both, their small size comes with compromises. The fp lacks a viewfinder and even a mechanical shutter. In fact, the fp is better thought of as a module inside a camera system rather than as a wholly complete camera in and of itself. Meanwhile the RX1R II has a fairly cramped control layout and a tiny battery, rated for a pitiable 220 shots, and not infrequently capable of rather less than that, depending on how you use it.

It’s impossible to know exactly what a full-frame X100 might end up looking like, but you can bet it would be larger and heavier than the cameras that we know and love.

Development cost of full-frame

The Sigma fp is even smaller than the RX1R II, and one of the ways in which Sigma ensured the smallest possible body is by eliminating both a viewfinder and a mechanical shutter. An X100-type camera without either of those things would probably be a non-starter.

And then there’s cost. The 26MP sensor in the X100V is used in multiple other Fujifilm cameras, which means that they can be purchased from Sony in bulk, keeping the per-unit cost down.

Economies of scale mean that it would probably be very expensive for Fujifilm to procure a relatively small number of totally different sensors for only a single product line, aimed at a relatively small group of customers.

On top of that, a new, larger sensor would probably mean developing a new shutter mechanism: either a conventional mechanical shutter in-camera, or a scaled-up in-lens shutter, of a type similar to the current X100 line. Either way, Fujfilm would need to make it from scratch, likely with associated development and production costs.

Bigger sensors also draw more power, and create more heat. One way or another, it all costs money.

Add all of these costs together, and developing a niche product like a full-frame X100 would probably be very expensive for Fujfilm. And what would that mean?

Literal cost to consumer

The Leica Q2 is a good example of a fantastic camera, with a built-in finder and a great lens, that makes the most out of its high-resolution full-frame sensor. But it’s priced beyond the reach of most of us.

You guessed right: it means that a hypothetical full-frame X100 would cost you more. One of the major reasons for the success of the X100 line over the past decade has been the cost of the cameras, at a sweet spot of around $ 1,200 at point of launch, usually dropping a little over their lifetime. Obviously, $ 1,200 is still a considerable chunk of change, but compared to the likes of the Sony RX1R II or the Leica Q2, it’s a relative bargain.

Imagine if Fujfilm had to double the cost of the X100 in a full-frame version. Would you buy one? Even if you’re one of those people who would answer “yes”, it’s only logical that you’d be counting yourself among a minority, compared to the potential audience for the traditional APS-C bodies.

Loss of brand identity, and customer trust

For customers who have made large investments in Fujifilm’s APS-C products, the announcement of a full-frame camera may look like a vote of no confidence in the smaller format.

Customers really like it when companies play to their strengths, talk frankly to them, and don’t try to fix something that isn’t broken. Fujifilm has said so often – and for so long – that it has no interest in developing full-frame cameras, that such an abrupt change of direction would risk damaging the brand in the eyes of some of its most loyal customers.

In short, Fujifilm is not a full-frame brand. It’s arguably the only company (R.I.P. Samsung) that has really made a full-throated case for the benefits of APS-C over full-frame, and has spent the past decade doubling-down on that approach, creating the most convincing dedicated APS-C lens lineup on the market.

If Fujifilm introduced a full-frame version of the X100 concept, there’s no doubt that the company would attract a certain number of new customers. But several other, much less positive things would happen: For starters, a lot of loyal X100 series fans would feel betrayed, and worried that such a move might spell the end for a range of cameras they’ve come to love.

Photographers with an investment in the APS-C interchangeable lens X-series would also get spooked. To a Fujifilm shooter who has spent thousands of dollars on XF lenses, the announcement of a full-frame camera – any full-frame camera– could look like a massive vote of no confidence in APS-C.

Finally it’s not hard to imagine the feelings of someone who has just dropped thousands on one of Fujifilm’s medium-format GFX cameras, if the company suddenly announced it was developing a compact full-frame camera. Which leads us on to…

Risk of cannibalization

How many GFX 50Rs would Fujifilm sell if a similarly-sized, fixed-lens alternative were available? Such a product would risk cannibalizing Fujifilm’s existing lineups.

I’ve explained the likely potential costs (both real and in terms of potential damage to the brand) to Fujifilm of adding a full-frame X100 lineup, but there are always costs associated with doing something new, and costs are acceptable if there’s a major long-term benefit.

There’s no doubt that by putting a full-frame sensor behind a fixed 35mm F2 lens, Fujifilm would be providing photographers with a more powerful tool than any of the previous X100 series models, but that might actually end up being a problem. Why? Because it would risk ‘cannibalization’.

In this context, ‘cannibalization’ describes a situation where sales of a new model come at the expense of sales lost in other parts in the lineup. Would Fujifilm want to risk a large number of sales of the (at this point presumably quite profitable) X100-series in favor of a new, costlier full-frame model? It seems unlikely, and it’s even less likely that the company would risk sales of the nascent GFX range by inserting a full-frame model into the lineup, aimed at the exact same type of users.

Summing up – arguments against

Every one of Fujifilm’s medium format cameras so far has used the same NP-T125 battery. It’s physically big, because it has to be. That means the cameras have to large enough to accommodate this kind of battery.

To sum up, it’s highly unlikely that Fujifilm will develop a full-frame X100 series camera for the following reasons:

  1. A larger sensor would add size and weight, mitigating a major X100 selling point
  2. Such a product would cost a lot to develop and manufacture
  3. The result would be a very expensive camera – reducing its potential audience
  4. A move to full-frame would annoy and worry existing loyal Fujifilm APS-C customers
  5. The risk of cannibalization within existing lineups is too great

At a technical level, the imaging potential of full-frame is undeniably greater than APS-C, and only slightly less than medium-format. But the additional development cost, and the size and weight penalty involved in making full-frame work in a compact X100-type form factor, would be considerable. It’s lovely to imagine a full-frame X100 with a 35mm F1.4 lens, but less lovely to picture how much larger, heavier, and costlier that camera would have to be, compared to an X100V.

But what about medium format?

Fujifilm has a long track record of making fixed-lens medium format cameras, from the days of film. Could it repeat the trick with digital?

Fujifilm has said repeatedly that it has no interest in full-frame. Instead, it has developed a medium format lineup, offering far superior image quality potential and differentiated from both its own APS-C line, and the growing crop of full-frame mirrorless cameras now on the market.

The sensor in Fujifilm’s flagship $ 10,000 GFX 100 can be thought of essentially as four X-T3 sensors, in a single piece of silicon. With four times the surface area, and current-generation chip design, the GFX 100’s sensor is capable of astonishing resolution and dynamic range, putting it in a different league to even the best APS-C cameras.

So might Fujifilm build a medium-format X100? There’s an argument to be made that it makes sense in a way that full-frame just doesn’t. Medium format would offer an increase in potential image quality over full-frame (albeit relatively modest – about 2/3EV), a significant leap in image quality over APS-C, it’s a major part of Fujifilm’s brand identity, and the larger format is a key differentiator for Fujifilm compared to competitive manufacturers.

In conclusion

For all of the appeal to Fujifilm of burnishing the company’s credentials in the medium format marketplace, an MF X100-type camera still seems very unlikely, for all of the same reasons why a full-frame X100 is probably a non-starter.

The difference in image quality between full-frame and what Fujifilm calls medium format is relatively modest. In fact, in our testing we found that the 50MP sensors used in the GFX 50S and 50R don’t offer significantly better performance than the best current full-frame sensors. The more advanced 100MP sensor in the GFX 100 is a slightly different matter, but its cost (larger sensors are significantly harder to produce, and their ‘yield’ is much smaller) probably makes it impractical for use in such a different type of camera.

Meanwhile, remember how a full-frame X100 would have to be bigger and heavier? Well that’s even more true with a hypothetical medium format version.

The GFX 50R provides a convenient point of comparison here. It’s not huge, compared to (say) the GFX100, but it’s definitely not a camera you can slip into your pocket. Imagine a fixed version of the compact 50mm f3.5 on the front, and it might be possible to shave off a few mm here and there. But either way, you’re likely still looking at a very expensive product, which probably won’t deliver much better image quality than a current full-frame model from Nikon or Sony.

Of course, that doesn’t mean we don’t still want one.

What do you think? Let us know in the poll below.

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Articles: Digital Photography Review (dpreview.com)

 
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