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Pentax K-1 Mark II shoots up to ISO 819,200, offers updated Pixel Shift

22 Feb

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Almost exactly two years after its predecessor’s introduction, Ricoh is debuting the Pentax K-1 Mark II. It’s the company’s latest full-frame DSLR and uses the same AA-filterless 36.4MP sensor used by the Mark I, but adds a new ‘accelerator’ to the imaging pipeline. This addition makes it possible to shoot at up to ISO 819,200, according to Ricoh. The company also says updated image processing parameters offer better color reproduction, especially blues and greens.

The K-1 II’s Pixel Shift Resolution System II adds the ability to use this high-res mode without a tripod by measuring the movements that come from hand shake, then capturing and combining four frames into one high-resolution image. The company calls this feature Dynamic Pixel Shift Resolution mode.

Official samples:

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The camera’s hardware specs are otherwise unchanged from the K-1: it still offers a sturdy, weather-resistant construction and a flexible, articulated 3.2″ 1.04 million dot LCD complemented by a nearly 100% optical viewfinder (0.7x magnification). It continues to offer 33 AF points (25 cross-type), with an updated tracking algorithm that claims to improve accuracy while photographing moving subjects in AF-C mode. In-body 5-axis image stabilization is included, claiming up to 5 stops of correction.

Burst shooting tops out at 4.4 fps (up to 17 Raw images or 70 JPEGs) in regular shooting, or 6.4 fps in APS-C crop mode. The camera’s maximum video resolution of 1080/30p is starting to look a bit dated, though it does offer a 4K resolution interval mode that turns a series of stills into a time-lapse video. Headphone and microphone ports are offered, with a new wind-reduction audio recording option.

The Pentax K-1 Mark II will go on sale in April for $ 1999.95 body-only, or bundled with the HD Pentax-D FA 28-105mm F3.5-5.6 ED DC WR zoom for $ 2399.95.

Ricoh announces the PENTAX K-1 Mark II full-frame digital SLR camera

Flagship model in the PENTAX K series camera line updated to deliver even higher image quality and enhanced performance in challenging shooting conditions

WEST CALDWELL, NJ, February 21, 2018?Ricoh Imaging Americas Corporation today announced the PENTAX K-1 Mark II 35mm full-frame digital SLR (DSLR) camera. Developed as the successor to the PENTAX K-1 full-frame DSLR camera launched in April 2016, the compact, rugged and weather-resistant PENTAX K-1 Mark II now becomes the flagship camera in the acclaimed PENTAX K-series lineup. The camera incorporates new technologies that allow it to deliver outstanding image quality and improved operability in a broader range of shooting conditions.

The PENTAX K-1 Mark II uses the same full-frame Anti-aliasing (AA)-filterless CMOS sensor with 36.4 effective megapixels as its predecessor model. However, Ricoh has added a new accelerator unit to the PENTAX K-1 Mark II that—along with the camera’s PRIME IV image processor—enables it to produce high-resolution images with minimal noise in even in the most challenging low-light conditions, up to ISO 819200. This makes the new camera ideal for low-light photography where higher shutter speeds are required.

The camera also incorporates Pixel Shift Resolution System II. This new, PENTAX-developed technology uses the same in-camera shake-reduction (SR) mechanism and sensor-shift capabilities as the original Pixel Shift Resolution System found in the PENTAX K-1, which captures four images of the same scene, and then synthesizes them into a single, super-high-resolution composite image. With the Pixel Shift Resolution System II, the camera also obtains RGB color data, resulting in images with significantly finer details and truer colors than those produced by typical full-frame sensors.

A new feature in the Pixel Shift Resolution System II is Dynamic Pixel Shift Resolution mode. This mode allows photographers to produce crisp, ultra-high pixel shift resolution images without the need of a tripod, extending the camera’s use to a wider variety of subjects and scenes.

The PENTAX K-1 Mark II also comes equipped with many unique features and functions designed to facilitate creativity and ensure operational comfort that have become the hallmark of PENTAX cameras. These include a sturdy magnesium-alloy body with dustproof, weather-resistant construction; an optical viewfinder with a nearly 100-percent field of view for real-time subject confirmation; Astro Tracer, which simplifies the tracing and photographing of celestial bodies by coupling GPS data with the camera’s sophisticated SRII mechanism; and a flexible tilt-type LCD monitor to accommodate various shooting angles.

| Pricing and Availability |

The PENTAX K-1 Mark II camera body will be available in April 2018 for a suggested list price of $ 1,999.95. The camera body plus HD PENTAX-D FA 28-105mm F3.5-5.6 ED DC WR zoom lens will also be available for a suggested list price of $ 2,399.95. Both can be purchased at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets throughout North America.

| Main Features |

1. Newly incorporated accelerator unit delivers high-quality images and excellent super-high-sensitivity imaging performance

The PENTAX K-1 Mark II features a 35mm-format full-frame CMOS image sensor with an AA (anti-aliasing) filter–free design to produce high-resolution images with approximately 36.4 effective megapixels. It also features a new accelerator unit, which optimizes the image data obtained by the full-frame image sensor before delivering it to the high-performance PRIME IV imaging engine. As a result, the camera is capable of producing high-quality images with minimal noise, while retaining excellent resolution at all sensitivity levels, from normal to super-high sensitivities. PENTAX has also updated all image-processing parameters to ensure colors are true to life, with special emphasis on deep blues and lively greens. PENTAX has also dramatically improved the camera’s noise-reduction performance at a high-sensitivity range — up to ISO 819200 — to expand creative possibilities in super low-light shooting.

2. Pixel Shift Resolution System II produces super-resolution images and enables handheld shooting

Building upon the original PENTAX-developed Pixel Shift Resolution System — the super-resolution technology that uses the camera’s in-body shake-reduction mechanism to capture four images of the same scene by shifting the image sensor by a single pixel for each image, and then synthesizes them into a single composite image — is the Pixel Shift Resolution System II,* making its debut in the PENTAX K-1 II. This new system obtains RGB color data for each pixel, resulting in super-high-resolution images with finer details and more realistic colors than those produced by cameras with ordinary full-frame sensors. The Motion Correction functions provides ON/OFF switching, which detects moving elements of the continuously captured images to minimize the effect of subject movement during the image synthesizing process.***The new Dynamic Pixel Shift Resolution mode,** which can be used during handheld shooting, works together with the camera’s shake-reduction mechanism, by synthesizing the composite images while detecting the slight fluctuations of the subject’s position during the capture process.

This technology comes from the reverse thinking of pixel shift technology to utilize the minute camera shake itself to product the composite images. Therefore, by detecting the camera shake in three dimensions, the continuously captured four images are analyzed based on the detected camera shake information and combined into a single file to produce one super high resolution image.

* When using this system, the user is advised to stabilize the camera firmly on a tripod. Even if a moving subject is captured in the camera’s image field, the image may not be reproduced clearly, partially or in total.
** The captured images may not be properly synthesized with certain subjects or under certain conditions. By capturing images in the RAW or RAW+ format, the user can process the images unsuitable for the synthesizing process as normal RAW-format images within the camera body. The images may not be properly synthesized in a composite image
*** The movement may not be sufficiently corrected when the object is moving in a certain direction and/or pattern. This function does not guarantee that the movement is properly corrected with all subjects.

3. High-performance five-axis, five-step SR II system

(1) In-body SR mechanism delivers optimal shake-reduction performance with all compatible lenses The PENTAX K-1 Mark II comes equipped with the PENTAX-developed SR II (Shake Reduction II) five-axis mechanism, which provides accurate control of the large full-frame image sensor with all compatible PENTAX interchangeable lenses.* In addition to camera shake caused by pitch and yaw, this advanced system also compensates for camera shake caused by horizontal and vertical shift (often generated in macro photography) and camera shake caused by roll, which is difficult for lens-installed shake-reduction mechanisms to handle. It has a compensation range up to five steps (measured in conformity with CIPA standards, using the HD PENTAX-D FA 28-105mm F3.5-5, 6ED DC WR at a 105mm focal length). When taking a panning shot, this system automatically detects the direction of the camera’s movement, and efficiently controls the SR unit to produce the best image possible without requiring any mode switching operation.

(2) Innovative AA filter simulator to minimize moiré and inaccurate color rendition By applying microscopic vibrations to the image sensor unit at the sub-pixel level during image exposure, the camera’s anti-aliasing (AA) filter simulator** provides the same level of moiré reduction as an optical AA filter. Unlike an optical filter, which always creates the identical result, this innovative simulator not only lets the user switch the AA filter effect on and off, but also adjust the level of the effect. This means that the ideal effect can be set for a particular scene or subject based on given photographic conditions.

(3) Additional shooting functions enabled by the SR II system Since the camera’s SR unit has a flexible design that tilts the image sensor unit in all directions, additional shooting functions are enabled, including auto level compensation, image-composition fine-adjustment, and Astro Tracer, a feature that works along with the built-in GPS, to produce super-sharp images of the night sky.

* Lenses compatible with this mechanism: K-, KA-, KAF-, KAF2-, KAF3- and K AF4-mount lenses; screw-mount lenses (with an adapter); and 645- and 67-system lenses (with an adapter). Some functions may not be available with certain lenses.
** This function works most effectively with a shutter speed of 1/1000 second or slower. This function may not be combined with some shooting modes, including the Pixel Shift Resolution system.

4. Flexible, tilting LCD monitor facilitates shooting in the dark On its back panel, the PENTAX K-1 Mark II features a flexible, tilting LCD monitor, which can be adjusted to the desired angle horizontally, vertically or diagonally with a single adjustment, without deviating from the lens’s optical axis. The user can not only tilt it approximately 35 degrees horizontally and approximately 44 degrees vertically, but also pull it out from its base to view the on-screen image from above for waist-level photography. This large, 3.2-inch LCD monitor has approximately 1,037,000 dots and a 3:2 aspect ratio, and provides a protective tempered-glass front panel for added durability. In addition to its wide-view design, it also features a unique air-gapless construction, in which the air space between LCD layers is eliminated to effectively reduce the reflection and dispersion of light for improved visibility during outdoor shooting. Its outdoor monitor function, which allows instant adjustment of the monitor’s brightness to the desired level, has also been improved to provide greater visibility in dark locations. Its red-lit monitor display function facilitates monitor viewing when the photographer’s eyes have become accustomed to a dark location during nighttime photography.

5. SAFOX 12 with 33 sensor points and full-frame-proportioned AF frame Using a SAFOX 12 AF sensor module with 33 AF sensors (25 cross-type sensors positioned in the middle), the PENTAX K-1 Mark II optimizes the autofocus process, and assures high-speed autofocus operation in the AF.S (AF Single) mode. The center sensor and two sensors located just above and below it are designed to detect the light flux of an F2.8 lens, making it easy to obtain pinpoint focus on a subject when using a large-aperture lens. Its AF Tracking algorithm has also been revised to improve tracking accuracy of fast-moving subjects in the AF.C (AF Continuous) mode.

6. PENTAX Real-Time Scene-Analysis System, developed using artificial intelligence technology By combining an approximately 86,000-pixel RGB metering sensor with the high-performance PRIME IV imaging engine, the PENTAX K-1 Mark II’s advanced PENTAX Real-Time Scene Analysis System performs real-time analysis of the brightness distribution over the image field and the subject’s colors and movement. Based on this data, it then measures the subject’s lighting conditions with great accuracy and optimizes the exposure. By adopting a breakthrough artificial intelligence technology, deep learning, to its algorithm,* it assesses each individual scene more accurately, and optimizes the exposure settings for a given scene or composition.

* Effective when the AUTO exposure mode is set to Scene Analyze Auto and the Custom Image mode is set to Auto Select.

7. Easy-to-focus optical viewfinder with nearly 100-percent field of view Optimized for a 35mm full-frame digital SLR design, the camera’s optical viewfinder provides a nearly 100-percent field of view and an approximately 0.7-times magnification. Using a combination of a condenser lens and aspherical lens, it provides a wide field of view and a clear, undistorted image of the subject. It comes with a Natural Bright Matt III focusing screen, acclaimed for ease of focusing during manual-focus operation, and true-to-life rendition of defocused areas in the viewfinder image. In addition, its transparent viewfinder display makes it possible to superimpose a wide range of photographic data over the viewfinder image.

8. High-speed continuous shooting The PENTAX K-1 Mark II allows continuous recording of as many as 17 images in the RAW format (or a maximum of 70 images in the JPEG Best format) in a single sequence, at a top speed of approximately 4.4 images per second. This is made possible by the combination of advanced mechanisms including a damper mechanism that effectively minimizes mirror shock; high-speed, high-precision control of the shutter and mirror units; and a high-speed data transmission system incorporated in the PRIME IV imaging engine. In the APS-C Crop mode, the drive speed can be boosted to as high as approximately 6.4 images per second, and as many as 50 images in a single sequence in the RAW format (or 100 images in the JPEG Best format) to assure quick response to fast-moving subjects.

9. Supportive shooting functions to improve picture-taking efficiency and operational comfort

Operation-assist light function, which sets LED lights at four different spots around the camera body — above the lens mount, behind the LCD monitor, at the memory car slot, and at the cable switch terminal — to facilitate lens and memory card changes, attachment and removal of the cable switch, and control button operation at night and in poorly lit settings.
Key lock function, which prevents erroneous operation of the four-way controller and other exposure-related control buttons.
Smart Function, which allows the user to swiftly choose and set desired functions using just the function dial and the set dial on the camera’s upper panel, without referring to the menu screen on the LCD monitor.
Control panel customize function, which allows the user to change a listing and/or position of the on-screen menu.

10. Compact, rugged body with dustproof, weather-resistant construction The camera’s bottom panel and front and back frames are all made of sturdy yet lightweight magnesium alloy. Although the camera features a dependable, durable shutter unit that can withstand 300,000 shutter releases (measured under actual shooting conditions) for professional use, its body has been downsized to the minimum possible, thanks to the incorporation of a unique floating mirror structure. With the inclusion of 87 sealing parts in the body, the camera also boasts a dustproof, weather-resistant and cold-resistant construction, assuring solid operation at temperatures as low as -10°C. All these features make the PENTAX K-1 Mark II a dependable, all-purpose performer, even under demanding shooting conditions.

11. Full HD movie recording with an array of creative tools The PENTAX K-1 Mark II captures Full HD movie clips (1920 x 1080 pixels; 60i/30p frame rate) in the H.264 recording format, and comes equipped with a stereo mic terminal for external microphone connection, and a headphone terminal. The user can also adjust the audio recording level manually, monitor sound pressure levels during microphone recording, and cut down wind noise using a new wind-noise reduction mode. In addition to a host of distinctive visual effects for movie recording,* the camera also provides the interval movie mode, which captures a series of 4K-resolution (3840 x 2160 pixels) movie clips at a fixed interval.

* When special image processing is required, the frame rate may vary depending on the selected special-effect mode.

12. Built-in GPS module The PENTAX K-1 Mark II provides a variety of advanced GPS functions, including the recording of location, latitude, longitude, altitude and UTC (Universal Time Coordinated) and direction at the time of shooting. The user can easily access images containing GPS data using a computer, to browse them, check on shooting locations and position data on the screen, or save them. The camera also provides a set of other unique tools, including: Electronic Compass, which displays the camera’s direction on its LCD monitor; GPS log, which keeps track of the photographer’s movement; and Astro Tracer, which simplifies the tracing and photographing of celestial bodies by coupling GPS data with the camera’s SR mechanism.

13. Other features

High-grade DRII (Dust Removal II) mechanism for effective elimination of dust on the image sensor using ultrasonic vibration
Crop mode with a choice of image area from AUTO, FF (Full Frame), APS-C and 1:1
Wireless LAN connection to support the operation with smartphones and table computers, the transfer of captured images, and remote shooting operations ?HDR (High Dynamic Range) shooting mode with RAW-format data filing, usable in handheld shooting
The PENTAX-invented hyper operating system for quick, accurate response to the photographer’s creative intentions
Dual SD card slots for memory card flexibility (compatible with SDXC UHS-1 speed class in SDR104 bus speed mode)
Compensation of various parameters: lens distortion, lateral chromatic aberration, diffraction, and brightness level at image-field edges. Fringe effect compensation is also available in RAW-format processing.
Bulb Timer function to improve operability in bulb shooting
Compatibility with PENTAX Image Transmitter 2 tethering software (software update required from RICOH IMAGING official website)
Digital Camera Utility 5 software (latest version) included

Pentax K-1 Mark II specifications

Price
MSRP	$ 1999/£1799 (body only), $ 2399 (w/FA 28-105mm lens)
Body type
Body type	Mid-size SLR
Body material	Magnesium alloy
Sensor
Max resolution	7360 x 4912
Image ratio w:h	3:2
Effective pixels	36 megapixels
Sensor photo detectors	37 megapixels
Sensor size	Full frame (35.9 x 24 mm)
Sensor type	CMOS
Processor	PRIME IV
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-819200
White balance presets	8
Custom white balance	Yes (3 slots)
Image stabilization	Sensor-shift
CIPA image stabilization rating	5 stop(s)
Uncompressed format	RAW
JPEG quality levels	Best, better, good
File format	JPEG (Exif v2.3) Raw (PEF/DNG)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	33
Number of cross-type focus points	25
Lens mount	Pentax KAF4
Focal length multiplier	1×
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3.2″
Screen dots	1,037,000
Touch screen	No
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Optical (pentaprism)
Viewfinder coverage	100%
Viewfinder magnification	0.7×
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/8000 sec
Exposure modes	Program Aperture priority Shutter priority Aperture and shutter priority Sensitivity priority Manual
Built-in flash	No
External flash	Yes (via hot shoe or flash sync port)
Flash modes	Auto Flash Discharge, Auto Flash + Red-eye Reduction, Flash On, Flash On + Red-eye Reduction, Slow-speed Sync, Slow-speed Sync + Red-eye, P-TTL, Trailing Curtain Sync, Contrast-control-sync, High-speed sync, Wireless sync
Flash X sync speed	1/200 sec
Drive modes	Single Frame, Continuous, Self-timer, Remote Control, Bracketing, Mirror- up, Multi-Exposure, Interval Shooting, Interval Composite, Interval Movie Record, Star Stream
Continuous drive	4.4 fps
Self-timer	Yes (2 or 12 sec, custom)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±5 (2, 3, 5 frames at 1/3 EV, 1/2 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	1920 x 1080 @ 60i, MOV, H.264, Linear PCM 1920 x 1080 @ 50i, 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 1280 x 720 @ 60p, MOV, H.264, Linear PCM 1280 x 720 @ 50p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	Dual SD/SDHC/SDXC (UHS-I)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro-HDMI)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11b/g/n
Remote control	Yes (wired, wireless, or smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	D-LI90 lithium-ion battery & charger
Battery Life (CIPA)	670
Weight (inc. batteries)	1010 g (2.23 lb / 35.63 oz)
Dimensions	137 x 110 x 86 mm (5.39 x 4.33 x 3.39″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes (Still or video)
GPS	Built-in

Articles: Digital Photography Review (dpreview.com)

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Sony a7R III Pixel Shift lifts a veil off your landscapes

12 Nov

Sony’s replacement of its popular a7R II comes packed with new features, most of them aimed at performance, ergonomic and autofocus improvements. But there are image quality improvements as well, like more dynamic range, but also a new Pixel Shift feature that hasn’t yet been talked about much.

Cameras with sensor-shift mechanisms are increasingly offering these pixel shift modes by precisely moving the sensor in one pixel increments to sample each color at every position, thereby overcoming the downsides of the Bayer filter array. And getting you sharper images with less moiré, with potentially less noise thanks to multi-sampling and less math required to figure out the R, G and B colors at each pixel. How does this look in the real-world? Explore our Pixel Shift vs. non-Pixel Shift Raw comparison below (Raws processed using Sony Imaging Edge with all sharpening and noise reduction settings zeroed out, and only tonal adjustments applied to deal with the high scene contrast):

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Move around the image and you’ll see a marked increase in clarity almost everywhere. The buildings’ windows are sharper and clearer, all the foliage far more defined… these Pixel Shift results are frankly astounding for static scenes. It’s like a veil has been lifted off your scene: something landscape photographers will simply love. All details are clearer, crisper, and there is no hint of moiré anywhere. The last time I saw this jump in clarity was going from a Rebel with kit lens to a 5D with L-series lens, to put this in perspective.

Last time I saw this jump in clarity was going from a kit lens on a Rebel to an L-lens on a 5D

And it’s not because of extra sharpening (which would come at the cost of more noise, which we don’t see), but because of the extra sampling. We’d also expect a decrease in noise, but we can’t quite tell here because of the non-standard workflow and because – to the credit of the a7R III’s dynamic range – this sunset scene still doesn’t have enough dynamic range to challenge the a7R III and make shadows visibly noisy.* That’s saying a lot.

This sunset scene doesn’t have enough dynamic range to challenge the a7R III. That says a lot.

What’s more: Sony’s recent lenses have enough resolving power to take advantage of this mode. You see the resolution increase at least partly because the lenses have enough resolving power to take advantage of the extra pixel-level sampling (theoretically, increasing the resolution of any part of the imaging chain has the potential to increase sharpness, but your lens needs to resolve enough to begin with to see the dramatic differences we’re seeing here). You can’t always take that for granted (see the limited increase in resolution of Pixel Shift modes on Micro Four Thirds cameras in our studio scene, for example).

Studio Scene Comparison

We know you’re itching to compare these results to all our other cameras, including those with their own Pixel Shift modes. Well, here you have it (Phase One 100MP camera is included as a benchmark so you know what the details are actually supposed to look like in our scene):

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The first thing you might notice is the lack of moire in our saturated color wheels, something even the Phase One 100MP sensor fails at. The Pentax K-1 offers a similar performance here: sampling three primaries at each pixel position helps overcome the color aliasing typically associated with Bayer filters.

Pixel Shift removes color aliasing in the newspaper print$ (document).ready(function() { $ (“#icl-3794–1566952198”).click(function() { ImageComparisonWidgetLink(3794); }); }) as well (check back above). It also produces less moire in the black and white text$ (document).ready(function() { $ (“#icl-3798-785963340”).click(function() { ImageComparisonWidgetLink(3798); }); }) of our scene. The lack of moire and increased resolution allows you to read down to the last line with ease – something the a7R II can’t claim.

You can even start to see the texture in our color wheel$ (document).ready(function() { $ (“#icl-3795-1120823446”).click(function() { ImageComparisonWidgetLink(3795); }); }) that not even the Pentax in Pixel Shift mode (much less the original a7R II) can resolve. The Phase One and Pentax medium format cameras are the only other cameras sharing that honor.

Traditional cameras with Bayer arrays particularly resolve less in saturated colors, where the lower resolution of the red or blue pixels really starts to show. So take a look at the massive increase in resolution in our saturated threads$ (document).ready(function() { $ (“#icl-3796–2100605088”).click(function() { ImageComparisonWidgetLink(3796); }); }). You can resolve individual strands the a7R II – or a7R III without Pixel Shift – don’t show. The K-1 does well here too, but remember the a7R III images are processed through Sony ‘Imaging Edge’, and we expect things to improve once Adobe provides support (which, to our understanding, it will).

Just generally speaking there’s more detail throughout our scene: take a look at our Beatles patch$ (document).ready(function() { $ (“#icl-3797–29172716”).click(function() { ImageComparisonWidgetLink(3797); }); }). You can make out individual threads otherwise only visible to the Phase One. The increased resolution of the a7R III over the K-1 probably helps resolve more threads, though the incredibly sharp Sony FE 85/1.8 may have some role to play here as well.

If you’re curious how well the 50MP Canon 5DS R compares: not so well. Individual threads are not well resolved$ (document).ready(function() { $ (“#icl-3800–1236522308”).click(function() { ImageComparisonWidgetLink(3800); }); }) (if not noisy, particularly in the reds), and color aliasing$ (document).ready(function() { $ (“#icl-3801–202191445”).click(function() { ImageComparisonWidgetLink(3801); }); }) can be an issue.

Are we impressed?

How could we not be? Landscape, cityscape and architecture photographers will absolutely love this new feature paired with the already excellent sensor in the a7R III – as long as they steer clear of (or clone out) moving objects in the scene. The increase in resolution and decrease in aliasing Pixel Shift brings is obvious in both our studio scene and real world result. It’s frankly dramatic in the latter.

Are we impressed? How could we not be? Landscape, cityscape and architecture photographers will love this

There can be obvious artifacts in anything moving though, so that’s a potentially significant (albeit expected) caveat for landscapes with motion (water, fast clouds), telephoto shots prone to movement from wind and vibrations, etc. You’ll want to use a sturdy tripod with a remote release or self-timer. Furthermore, for now, using Sony’s ‘Imaging Edge’ software is clunky, but once Adobe incorporates support, we can’t wait to start shooting landscapes and perhaps tougher subjects in this mode to see how well it copes.

* That said, this was still a high dynamic range scene that we exposed for the highlights and tone-mapped in post using Sony’s ‘Imaging Edge’ software (the only option for processing Pixel Shift files at the moment). So shadows have been lifted many stops – yet remain noise free. You’ll have to excuse the somewhat flat result, as we didn’t have access to the tools we’re used to to tonemap HDR images while retaining proper local contrast. More to come…

Articles: Digital Photography Review (dpreview.com)

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Sony to shift focus as demand for automotive image sensors increases

26 Oct

Sony is the largest supplier or CMOS image sensors worldwide, with about half of its production capacity reserved for mobile device image sensors. However, according to a DigiTimes report, the company is now looking to expand its position in the market for automotive image sensors, where rivals On Semiconductor and OmniVision are currently the largest players.

As a consequence Sony is planning to allocate a larger portion of its sensor production capacity for advanced driver assistance systems (ADAS) and other automotive electronics applications.

Self-driving vehicles have been identified by sensor suppliers as a major growth area that will generate elevated demand for image sensors in the near future. According to DigiTimes sources, automotive is expected to overtake mobile devices as the leading application for CMOS sensors and will be first among all auto electronics segments, with major growth kicking in during 2018.

According to Digitimes, increasing demand for CMOS sensors through high-end smartphone and automotive applications could be bad news for consumers as the average unit price of CMOS sensors is expected to rise. The global market volume for CMOS sensors is forecast to increase to nearly US$ 13.8 billion in 2020, up from US$ 11.2 billion in 2017.

Articles: Digital Photography Review (dpreview.com)

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The Laowa Magic Shift Converter brings easy lens-shifting to the Sony E-Mount

11 Jul

Venus Optics, the Chinese maker of the Laowa lens brand, has launched the Laowa Magic Shift Converter (MSC). The Magic Shift is designed to be used with Canon or Nikon mount lenses and Sony Full Frame E-mount cameras, and adds shift capabilities to your super-wide-angle lenses.

According to Laowa, the Magic Shift works specifically well with the company’s own Laowa 12mm f/2.8 Zero-D ultra-wide angle lens, which it converts into a 17mm f/4 Zero-D lens with a +/- 10mm shift capability.

Laowa says that, thanks to a patented internal optics system, there is no vignetting even at maximum shift and the impact on image quality is minimal as well. In addition, the MSC comes with a 360° rotation structure which allows photographers to shoot in both horizontal and portrait orientation.

Like conventional shift lenses, the Magic Shift Converter is aimed at architecture photographers, allowing them to compensate for converging parallels when shooting tall buildings or other structures with the lens angled upwards.

The Laowa Magic Shift Converter (MSC) Canon variant is currently available to pre-order on the Venus Optics website and at authorized resellers. Shipping is expected to start in late July/early Aug. The Nikon variant should be available two months later.

Articles: Digital Photography Review (dpreview.com)

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Lighting 103: Using Gels to Shift the Ambient

21 Apr

Abstract: By combining a white balance shift in your camera with a complimentary gelling of your flash, you can easily and efficiently alter the ambient color temperature of an entire environment.

In addition to controlling the color of light from your flash, gels can also allow you to control the color of the ambient areas of your frame. This can allow you to tweak, enhance or drastically an ambient color environment. Read more »
Strobist

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Ricoh introduces weather-resistant Pentax K-70 with Hybrid AF and Pixel Shift

09 Jun

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Ricoh has unveiled the Pentax K-70, an advanced entry-level DSLR with an AA-filterless 24MP APS-C sensor and a body that’s designed to stand up to the elements. It boasts a dustproof, freezeproof and weather-resistant design, and is the first Pentax DSLR to offer Hybrid AF in live view.

The K-70 offers in-body shake reduction image stabilization, bringing with it Pixel Shift Resolution and AA filter simulation. An 11-point AF system offers nine centrally located cross-type sensors, and burst shooting is offered at 6 fps.

A PRIME MII image processor allows for 14-bit readout and a maximum ISO of 102,400. Movie recording tops out at 1080/30p, augmented by a 4K interval mode that combines 4K resolution stills into a movie file. On the back panel, the K-70 provides a 3″ 921k-dot vari-angle LCD where its K-50 predecessor used a fixed monitor. Rounding out the feature set is built-in Wi-Fi.

The Pentax K-70 will cost $ 649.95. Somewhat cryptically, Ricoh says it will announce availability at the beginning of July.

Press release:

Ricoh Imaging unveils weather-resistant, advanced digital SLR camera designed for the great outdoors

PENTAX K-70 incorporates speedy, high-accuracy AF, ultra-sensitive imaging engine and other technologies for producing high-resolution images in a wide variety of challenging conditions

DENVER, Colo., June 8, 2016—Ricoh Imaging Americas Corporation today announced the PENTAX K-70 advanced digital single-lens reflex (SLR) camera. Compact, dustproof and weather-resistant, the new PENTAX K-70 camera incorporates features — many of which have previously only been available on top-of-the-line PENTAX models — that enable photographers to produce high-resolution still photos and HD videos in a wide variety of challenging conditions, including low light and temperatures as low as 14°F (-10°C). The camera’s weather-resistant capabilities and compact design make it an ideal photographic companion for hikers, climbers and snow sports enthusiasts, as well as for nature and landscape photographers.

With a newly developed image accelerator unit providing a top sensitivity of ISO 102,400, plus the PENTAX-developed PRIME MII image processor, the PENTAX K-70 is capable of capturing high quality images in extremely low-light conditions. A new Hybrid Autofocus (AF) system, integrating both image-plane phase-matching and contrast-detection autofocus technologies, delivers speedy and accurate autofocus while also providing continuous auto focus for HD video recording.

“PENTAX has a long history of developing cameras and lenses that can withstand the rigors of the great outdoors. The K-70 goes a step further, with new, advanced features that enable the creation of higher quality images and make the camera very easy to use, both in the backyard and in the field,” said Kaz Eguchi, president, Ricoh Imaging Americas Corporation. “Combined with any one of our many available weather-resistant lenses, this camera is in a class of its own for outdoor photography.”

The PENTAX K-70 provides a variety of advanced features found only in Ricoh’s high-grade PENTAX K-series models, such as the PENTAX Pixel Shift Resolution System, which produces high-resolution, finely detailed images. These also include an AA Filter Simulator that effectively eliminates moiré without the need for an anti-aliasing filter, a variable-tilt LCD monitor, and an in-body shake-reduction mechanism that reduces the effects of camera shake up to 4.5 shutter steps. The K-70 also incorporates built-in Wi-Fi for remote shooting and easy transfer to smart devices using Ricoh’s dedicated Image Sync app.

The PENTAX K-70’s exterior is designed with outdoor operations in mind. Features such as a newly designed grip, mode dial and control buttons on the camera’s top and back panels are designed to be easy and intuitive to operate, even with a gloved hand. It also comes equipped with an outdoor-friendly LCD monitor with an illumination control that can be instantly adjusted to the lighting level of any shooting location. The K-70 also has a red-lighted monitor display function which keeps ambient light from interfering with astrophotography.

In conjunction with the PENTAX K-70 camera, Ricoh Imaging is announcing the HD PENTAX-DA 55-300mm f/4.5-6.3ED PLM WR RE lens, a compact, weather-resistant telephoto zoom (see details in separate news release, also issued today); plus the Cable Switch CS-310, a remote shutter release designed especially for use with the K-70.

| Pricing and Availability |

Availability of the PENTAX K-70 camera, which comes in black and silky silver finishes, will be announced at the beginning of July. When available, it can be purchased at www.ricohimaging.com for $ 649.95, as well as at Ricoh Imaging-authorized retail outlets throughout North America.

Pentax K-70 specifications:

Price
MSRP	$ 649/£559 (body only), £799 (w/18-135mm lens)
Body type
Body type	Compact SLR
Sensor
Max resolution	6000 x 4000
Other resolutions	4608 x 3072, 3072 x 2048, 1920 x 1280
Image ratio w:h	3:2
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.5 x 15.6 mm)
Sensor type	CMOS
Processor	PRIME MII
Color space	sRGB, AdobeRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-102400
White balance presets	8
Custom white balance	Yes (3 slots)
Image stabilization	Sensor-shift
Image stabilization notes	4.5 stop correction
Uncompressed format	RAW
JPEG quality levels	Best, better, good
File format	JPEG (Exif v2.3) Raw (PEF or DNG)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	11
Lens mount	Pentax KAF2
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3″
Screen dots	921,000
Touch screen	No
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Optical (pentaprism)
Viewfinder coverage	100%
Viewfinder magnification	0.95×
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/6000 sec
Exposure modes	Program Shutter priority Aperture priority Shutter and aperture priority Manual
Scene modes	Portrait Landscape Macro Moving Object Night Scene Portrait Sunset Blue Sky Forest Night Scene Night Scene HDR Night Snap Food Pet Kids Surf & Snow Backlight Silhouette Candlelight Stage Lighting Museum
Built-in flash	Yes
Flash range	12.00 m (at ISO 100)
External flash	Yes
Flash modes	Auto, auto w/redeye reduction, flash on, flash + redeye reduction, slow sync, trailing curtain sync, manual
Flash X sync speed	1/180 sec
Drive modes	Single Continuous Self-timer Remote control Bracketing Mirror-up Multi-exposure Interval shooting Interval composite Interval movie Star stream
Continuous drive	6.0 fps
Self-timer	Yes (2 or 12 secs, continuous)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±5 (2, 3, 5 frames )
Videography features
Resolutions	1920 x 1080 (60i, 50i, 30p, 25p, 24p), 1280 x 720 (60p, 50p)
Format	MPEG-4, H.264
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC (UHS-I compatible)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (mini-HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n
Remote control	Yes (wired or wireless)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	D-LI109 lithium-ion battery & charger
Battery Life (CIPA)	410
Weight (inc. batteries)	688 g (1.52 lb / 24.27 oz)
Dimensions	126 x 93 x 74 mm (4.94 x 3.66 x 2.91″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	Optional
GPS notes	O-GPS1

Articles: Digital Photography Review (dpreview.com)

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Pentax K-1 Pixel Shift Resolution: Updated Field Test

05 Jun

Metlako Falls in the Columbia River Gorge of Oregon State offered a unique setting to push the limits of the K-1’s pixel shift technology. This is a conventional single exposure utilizing no Pixel Shift. Pentax K-1, HD Pentax D FA 24-70mm F2.8 ED SDM WR 70mm, F20, 0.3 sec, ISO 100.

A note from the editor:

Earlier this week we published an article examining the performance of the Pentax K-1’s Pixel Shift mode when shooting waterfalls – a common landscape photography subject. We found various issues, including movement artifacts and false colors in Raw files shot using this function.

It has since become clear that some of these issues are unique to the current build of Adobe Camera Raw. We’ve spoken to Adobe, and the ACR team has confirmed that support for the K-1 in ACR 9.5.1 is ‘final’. Certainly, Pixel Shift shots of our (non-moving) studio test scene look absolutely fantastic when converted in ACR. However, in scenes that contain movement, it’s a different story altogether. The K-1’s bundled software, SilkyPix, on the other hand, while crash-prone and a little awkward to use, does a much better job. SilkyPix also supports the K-1’s Motion Correction feature in Pixel Shift files, which Adobe has now confirmed is not supported by ACR.

Once all this started to become apparent, we pulled our original article and started a more detailed look at the K-1’s performance when Raw files are run through the bundled software, SilkyPix. You can read it below.

Thanks to all of the K-1 users that contributed helpful comments and suggestions as we worked on these additional tests.

Barney

Introduction

It’s clear that the Pixel Shift Resolution shooting modes make a huge difference to image quality from our studio tests, but how does that translate to real world shooting situations?

In previous iterations of this feature (in the K3 II) we found that movement within a scene could cause major issues during Pixel Shift Capture. So if leaves rustled in the wind or your subject moved in any way the camera compensated poorly for the movement, which then resulted in pixel blur and artifacts in the regions where the movement occurred.

Like the K-3 II, Pixel Shift on the K-1 takes four separate exposures at single pixel increments; however, the K-1 now offers a ‘Motion Correction’ option. If movement is detected in subsequent images, the camera is supposedly able to differentiate pixels that have changed from the first frame and clone in pixels to cover that area from the first frame of the 4-shot capture. In theory, this should produce a much better final product then was possible in the Pentax K3 II.

To determine just how much the technology has improved in the K-1 over the previous iteration, I took the camera out into the field to really push the limits of the Pixel Shift Resolution shooting modes. I converted the resulting files in both Adobe Lightroom (my Raw converter of choice) (using ACR 9.5.1, which Adobe has confirmed represents final support for Pixel Shift) and also SilkyPix, which is bundled with the K-1.

The Gorge

The Columbia River Gorge, located along the Columbia River that borders Washington and Oregon state offers a variety of amazing scenic locations in addition to a number of challenging shooting environments. In order to test the capabilities and limitations of the Pixel Shift resolution mode in the K-1, I decided to focus on the seemingly endless amount of waterfalls that parallel the Columbia River about an hour or so outside of Portland, OR.

In an effort to get the most bang for my buck I decided to hike along the Eagle Creek trail, heading toward Punch Bowl Falls. There are a number of beautiful spots to take in the views and two waterfalls (Punch Bowl and Metlako falls) to make the trip more than worthwhile. The weather conditions were, well, pretty miserable. My fiancé and I experienced moderate rain throughout most of the day which definitely put a damper (literally) on the trip.

Most of the Eagle Creek trail is carved into some fairly steep cliffs and snakes its way back along the deep river valley that lies several hundred feet below the trail.

Pentax K-1, HD PENTAX-D FA 28-105mm F3.5-5.6 ED DC WR, 28mm, F6.3, 1/50, ISO 100

Pushing the Limits of Pixel Shift Resolution

Our first stop was Metlako Falls located about a mile from the trail head. The access trail to Metlako is poorly marked, so it’s definitely easy to miss if you aren’t careful. I chose this waterfall because it offers an excellent opportunity to examine not only how the Pixel Shift deals with movement but also detail resolution, since the waterfall is surrounded by dense and lush foliage. The following widget contains files that were shot at 70mm and an aperture of F/10 to limit the effects of diffraction and to really give you a sense of the detail resolution that is possible with the Pixel Shift mode turned on.

Using the widget below you can examine files converted using Adobe Lightroom, Silkypix, and out of camera JPEGs. We’re showing files taken with Pixel Shift turned off, and with Pixel Shift turned on with Motion Correction enabled.

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As you see there can be significant benefits$ (document).ready(function() { $ (“#imageComparisonLink2569”).click(function() { ImageComparisonWidgetLink(2569); }); }) to shooting with the Pixel Shift Resolution mode turned on (note that SilkyPix applies significant sharpening by default, which we chose to not turn off). The detail in the foliage$ (document).ready(function() { $ (“#imageComparisonLink2570”).click(function() { ImageComparisonWidgetLink(2570); }); }) is much better with Pixel Shift, and a nearly 2EV theoretical increase in dynamic range means greater latitude for Raw processing of contrasty scenes (in reality, the advantage appears to be somewhere in between 1EV and 2EV).

While files from our movement-free studio scene look great when run through ACR, our waterfall images (converted in the same way, using the same software) show very unpleasant color artifacts$ (document).ready(function() { $ (“#imageComparisonLink2571”).click(function() { ImageComparisonWidgetLink(2571); }); }). SilkyPix does a much better job, and there’s no sign of any false colors in the same areas in files converted through the K-1’s bundled software.

However, while there’s no crazy false color, even in the out of camera JPEGs and Raw images processed using SilkyPix you can still see some issues with pixel blur$ (document).ready(function() { $ (“#imageComparisonLink2525”).click(function() { ImageComparisonWidgetLink(2525); }); }) where movement took place (mostly in the foliage surrounding the waterfall) as the four frames were captured. This can lead to some strange cross-hatch artifacting$ (document).ready(function() { $ (“#imageComparisonLink2572”).click(function() { ImageComparisonWidgetLink(2572); }); }). And when it comes to landscapes, finding truly static shooting environments can be difficult, if not impossible.

With that said, if you process your Pixel Shift files through SilkyPix, the end result might be good enough (depending on the amount of movement you’re dealing with) that cloning or masking in rough-looking areas via your favorite post processing software becomes an option. Interestingly, sometimes SilkyPix does an even better job of motion correction$ (document).ready(function() { $ (“#imageComparisonLink2573”).click(function() { ImageComparisonWidgetLink(2573); }); }) than the camera JPEG engine itself. In fact, much of the image is quite usable in the SilkyPix conversion, but if you’re the kind of person that desires the detail Pixel Shift brings, you’ll still find yourself cloning out motion artifacts$ (document).ready(function() { $ (“#imageComparisonLink2574”).click(function() { ImageComparisonWidgetLink(2574); }); }) in many regions for a scene like this one.

Out of Camera JPEG Options

If you don’t mind JPEG output, you can also retroactively add motion correction in-camera to an image shot with Pixel Shift.

After applying the Pixel Shift to the file, you can export it as an out of camera JPEG. With that said, I don’t know too many landscape photographers that shoot in JPEG or want to produce out of camera JPEGs, since they’re mostly un-editable from a post processing standpoint. You’re probably better off using SilkyPix, with all the caveats that brings (more on that later).

Out of Camera JPEG Pixel Shift (scaled 50%)

No Motion Correction

HD Pentax D FA 24-70mm F2.8 ED SDM WR, 70mm, F16, 1/4, ISO 100

Out of Camera JPEG Pixel Shift (scaled 50%)

Motion Correction

HD Pentax D FA 24-70mm F2.8 ED SDM WR, 70mm, F16, 1/4, ISO 100

Dynamic Range Benefits

There’s another benefit to Pixel Shift we briefly alluded to: since information from four Raw files are essentially combined, noise is decreased. It’s not that frames are averaged, but that 4x as much total light is collected and used in generating the final image, which decreases relative shot noise. This suggests a nearly 2 EV theoretical increase in dynamic range (ignoring read noise), and indeed a significant improvement is evident in the +4 EV pushed shots below. The non-pixel shift file still shows respectable noise performance in the shadows thanks to the very high dynamic range sensor, and the Pixel Shift file is even cleaner. While it’s not quite a 2EV advantage, the Pixel Shift files in our studio dynamic range tests look better than the standard shots despite a 1EV relative underexposure. Hence, we’d estimate a benefit of somewhere between 1 and 2 EV.

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So what does this mean?

When it comes to Pixel Shift Raws, ACR is unable to cope with any sort of movement that may have occurred in the short time that the K-1 takes to capture the four separate files. Color artifacts and cross-hatching result in areas of motion, although the rest of the image experiences a significant detail increase. ACR doesn’t support Motion Correction at all. So (for now, at least) Pixel Shift and ACR simply don’t mix.

SilkyPix, on the other hand, handles Pixel Shift Raws in a different manner from ACR, which alleviates the color artifacts that we see in the files processed through ACR. It can also interpret the Raws shot with Motion Correction activated and produce a final image with far fewer motion artifacts – sometimes doing an even better job than the K-1’s in-camera JPEG engine.

Digging a little deeper, we’ve found that only the first of the four exposures taken during the Pixel Shift process is used to mask in problem areas when the Motion Correction setting has been enabled (in in-camera JPEGs or SilkyPix conversions). This makes sense – comparing the four files to find the sharpest one would be too computationally intensive to be practical – but it does mean that if the first exposure should happen to contain the most blur, results might not be optimal.

Conclusion

The amount of detail in the Pixel Shift files is markedly better than those taken with the mode turned off, but for landscape work (assuming anything short of totally still conditions) artifacts caused by movement in the scene can still cause issues. I’m glad that things aren’t quite as bad as we feared from looking solely at the output from Adobe Lightroom, but even the K-1’s bundled SilkyPix software shows some movement artifacts in Pixel Shift files. And, at least for Mac users, SilkyPix is not the most stable or easy to use software out there. 9 out of 10 times we tried to use it, we got an unusable image preview even at 100% – making editing cumbersome, if not impossible. Capture One and DxO Optics Pro don’t currently support the K-1 or Pixel Shift (e.g. on the older K-3 II) at all.

The reality, then, is that Raw shooters wanting to take advantage of Pixel Shift for scenes with motion will have to resort to (the buggy and cumbersome) SilkyPix. That’s a real limitation, but not an insurmountable one – you can perform rudimentary processing in SilkyPix and then output a 16-bit TIFF to continue processing in Lightroom or Photoshop.

In absolutely perfect shooting conditions though (macro, portrait, and some telephoto work), the K-1’s Pixel Shift shooting modes can offer outstanding results. The OOC JPEG and SilkyPix Raw images below depict a (mostly) static cityscape, and the real-world detail resolution is very impressive when movement isn’t a factor.

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It is worth noting, however, that if there is a chance of any movement occurring in the frame I would definitely recommend backing your files up with non-Pixel Shift exposures so you can choose to mask areas in using post processing tools or choose to use the non Pixel Shift files. We’ll be posting more sample images from my trip to the Gorge soon, and be on the look out for our forthcoming full review of the K-1 as well!

Articles: Digital Photography Review (dpreview.com)

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Pentax K-1 Pixel Shift: An update

02 Jun

Yesterday we published an article examining the performance of the Pentax K-1’s Pixel Shift mode when shooting waterfalls – a common landscape photography subject. We found various issues, including movement artifacts and false colors. It has become clear that some of these issues (and others related to Motion Correction) are unique to Adobe Camera Raw. When this became clear, we pledged to update our article with a more detailed look at performance in other Raw converters, including the bundled Raw converter, SilkyPix.

However, given that this is a rather time-consuming job, we’ve decided to temporarily pull our original article instead of updating it piecemeal. We’ll be publishing an updated analysis as soon as possible. We’d like to apologize for any confusion that the original article may have caused.

Articles: Digital Photography Review (dpreview.com)

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Waterfails: We test Pentax K-1’s Pixel Shift

01 Jun

Punch Bowl Falls in the Columbia River Gorge of Oregon State offered a unique setting to push the limits of the K-1’s pixel shift technology. This is a conventional single exposure utilizing no Pixel Shift. Pentax K-1, HD Pentax D FA 24-70mm F2.8 ED SDM WR 70mm, F16, 0.3 sec, ISO 100.