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We’ve already posted a collection of photos from the entry-level Fujifilm X-A7 shot by our friends at DPReview TV, and now we’ve got a gallery of our own. Keep in mind that these were taken with a pre-production X-A7, so image quality may not be final.
Articles: Digital Photography Review (dpreview.com)
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Nikon has been teasing the release of the Z-mount 58mm F0.95 Noct for as long as the full-frame Z system has been known to the public. Since then it’s been seen in development announcements, on roadmaps and behind glass, but today is the first time its full specifications (not to mention a price) have been released to the public.
Its F0.95 maximum aperture makes this the fastest Nikkor lens ever made. It comprises 17 elements in 10 groups; three aspherical elements are included, one of which is ‘large diameter’. Nano Crystal coating helps control flare and ghosting from light entering the lens at diagonal angles, while Nikon’s newer Arneo coating has been added to deal with incident light entering the lens vertically.
Living up to its name, the Noct has been designed with night photography in mind. Nikon says that the lens will reproduce point light sources faithfully across the entire frame, without the smearing effects of sagittal coma flare.
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All of that glass contributes to making the Noct a very hefty lens. It weighs 4.4lb / 2,000g and measures 102 x 153mm (4.01 x 6.02 in). The top of the lens barrel features a small display that can display focus distance, aperture and depth-of-field, plus a customizable control ring that offers quick access to aperture or exposure compensation – both features it shares with other current S-series lenses.
The Nikkor Z 58mm F0.95 Noct will cost $ 8000 and will ship later this month on October 31st.
Nikon Also Announces the New MB-N10 Battery Pack: Enhances Battery Life and Adds Additional Grip for Nikon Z 7 and Z 6 Users
MELVILLE, NY (October 10, 2019 at 12:01 AM EDT) – Today, Nikon Inc. announced the fastest NIKKOR lens ever made, the new NIKKOR Z 58mm f/0.95 S Noct lens. The 58mm Noct is a one-of-a-kind lens that pays homage to the extraordinary optical legacy that the previous Noct-NIKKOR 58mm f/1.2 lens established, while demonstrating the superiority and potential of the Nikon Z Mount. Created for the most discerning photographers, the new Noct lens is an exclusively manual focus prime lens with an incredible maximum aperture of f/0.95 for a truly dramatic depth of field and next-level low light performance.
The NIKKOR Z 58mm f/0.95 S Noct is in a class of its own, offering low light ability and extreme sharpness that excels in the hands of a capable creator. From stunning portraits to landscapes or astrophotography, all images are rendered beautifully thanks to its vast depth-of field control, seductive bokeh and superb point-image reproduction.
“This is why the Z mount was created. The Noct is a testament to Nikon’s commitment to optical innovation driven by more than a century of expertise,” said Jay Vannatter, Executive Vice President, Nikon Inc. “We promised a new dimension of optical performance for the Nikon Z series and NIKKOR Z lens lineup, and by announcing our fastest NIKKOR lens ever made, the NIKKOR Z 58mm f/0.95 S Noct, we are making this claim a reality.”
THE NEWEST ADDITION TO S-LINE OF NIKKOR Z LENSES
The NIKKOR Z 58mm f/0.95 S Noct joins as the apex to the ever-expanding series of S-Line lenses, which also includes the recently announced NIKKOR Z 24mm f/1.8 S and NIKKOR Z 85mm f/1.8 S, all hailed for their sharpness and optical performance.
A LEGENDARY LENS REBORN
The original Noct-NIKKOR 58mm f/1.2 was released in 1977, its name said to be derived from “Nocturne.” Made for nighttime photography, this lens became renowned for its ability to reproduce point light sources as point images. The design of the new Noct lens evolves with the most advanced optical technology for photographers and videographers, boasting an immense f/0.95 maximum aperture, staggering low light ability and enticing bokeh characteristics.
The NIKKOR Z 58mm f/0.95 S Noct implores an extensive depth of field, producing elaborate bokeh and blur characteristics with good continuity for more compelling, three-dimensional imaging. Even when the distance between the subject and the background are insufficient, the new 58mm Noct lens can still capture sharp images with beautiful background blur due to the reproduction of an extremely sharp focus plane and vast shallow depth of field. Additionally, shooting point light sources at maximum aperture would normally produce sagittal coma flare. However, with the new Noct lens the causes of sagittal coma flare are eliminated across the entire frame with point light sources being reproduced as tack-sharp point images even at the peripheries, for clear and crisp night landscapes and astronomical shots.
A lens like the new NIKKOR Z 58mm f/0.95 S Noct is possible today because of the large Z mount, which allows for more light capture and faster data sharing between lens and camera, as well as improved flexibility for lens optics and design. The new Noct lens also boasts a large-diameter ground aspherical lens element crafted from the finest glass with outstanding surface accuracy, providing a higher refractive index that would otherwise be unobtainable. This pro-level lens is constructed with an optical formula consisting of 17 elements in 10 groups, ensuring a well-balanced lens that delivers incredibly sharp results.
Like the NIKKOR Z 24-70mm f/2.8 S lens announced earlier this year, the NIKKOR Z 58mm f/0.95 S Noct lens includes an ARNEO Coat, which provides anti-reflection performance to combat incident light reaching the lens surface from a vertical direction. Alongside the Nano Crystal Coat, which effectively reduces incident light from a diagonal direction, the new Noct lens can capture clear and sharp content with minimal ghosting and flare effects across a wide variety of backlit situations that are normally challenging. Additionally, the NIKKOR Z 58mm f/0.95 S Noct includes a lens information panel allowing photographers and videographers to confirm aperture, focus distance and depth of field at a glance. Users will also enjoy the increased number of functions that can be assigned to the lens Fn button, matching the Fn1/Fn2 buttons on both the Z 7 and Z 6 cameras. Additionally, an electromagnetic diaphragm mechanism is incorporated, providing stable aperture control even during continuous shooting. The fluorine coat of the new Noct lens acts as a dust, dirt and moisture repellent coating.
In addition to the refined and durable exterior design, the NIKKOR Z 58mm f/0.95 S Noct offers excellent operability and a feeling of precision in hand. The focus ring enables accurate manual focusing, allowing for the appropriate amount of torque and a large rotation angle, even for the extremely shallow depth of field afforded at f/0.95. The new Noct lens also adopts a control ring, where functions like aperture setting, and exposure compensation can be assigned. Furthermore, the inside of the lens hood is felt-lined, delivering clear rendering by effectively preventing light reflection inside the hood.
THE NEW MB-N10 BATTERY PACK FOR THE NIKON Z 7 AND Z 6
The new MB-N10 battery power pack is an optional accessory for both the Nikon Z 7 and Z 6. The battery pack significantly enhances battery life and adds an additional hand hold, providing photographers and videographers even more freedom and comfort when using the Z 7 and Z 6. The battery pack is designed to hold two EN-EL15b batteries (sold separately), effectively increasing the number of shots possible and movie recording time by approximately 1.8X, based on CIPA standards. The MB-N10 offers the same weather sealing and modern design of the Z 7 and Z 6, plus it will support USB charging.
Price and Availability
The NIKKOR Z 58mm f/0.95 S Noct lens will be available October 31, 2019 at a suggested retail price (SRP) of $ 7999.95* and will come with a special premium custom padded case (Trunk Case CT-101), in addition to the HN-38 Hood. The new MB-N10 battery power pack will be available in November 2019, for an SRP of $ 199.95*. For more information on the latest Nikon products, including the new NIKKOR Z 58mm f/0.95 S Noct lens and MB-N10 battery power pack as well as the full Nikon Z mount system, please visit?www.nikonusa.com.
*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
| Principal specifications | |
|---|---|
| Lens type | Prime lens |
| Max Format size | 35mm FF |
| Focal length | 58 mm |
| Image stabilization | No |
| Lens mount | Nikon Z |
| Aperture | |
| Maximum aperture | F1 |
| Minimum aperture | F16 |
| Aperture ring | Yes |
| Number of diaphragm blades | 11 |
| Optics | |
| Elements | 17 |
| Groups | 10 |
| Special elements / coatings | 4 ED + 3 aspherical elements, Nano Crystal + ARNEO + Super Integrated coatings |
| Focus | |
| Minimum focus | 0.50 m (19.69″) |
| Maximum magnification | 0.19× |
| Autofocus | No |
| Full time manual | Yes |
| Focus method | Internal |
| Distance scale | Yes |
| DoF scale | Yes |
| Physical | |
| Weight | 2000 g (4.41 lb) |
| Diameter | 102 mm (4.02″) |
| Length | 153 mm (6.02″) |
| Materials | Magnesium alloy |
| Sealing | Yes |
| Colour | Black |
| Filter thread | 82 mm |
| Hood supplied | Yes |
| Tripod collar | Yes |
| Other | |
| Notes | Has a small LCD display that shows focus distance, aperture and more. |
Articles: Digital Photography Review (dpreview.com)
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Nikon has announced the first DX-format camera to use the Z-mount: the Z50. The Z50 features a 21MP BSI CMOS APS-C sensor (similar to what’s on the D500) with on-sensor phase detection. Unlike the Z6 and Z7, the Z50 does not have in-body image stabilization.
Despite being a smaller and lighter camera than the Z6/Z7, the Z50 doesn’t feel cheap, and is weather-sealed to some degree. It has a downward-tilting 3.2″ touchscreen display, 2.36M-dot OLED EVF and pop-up flash. Its single SD card slot supports high-speed UHS-II media while its Micro USB port allows for in-camera battery charging. The Z50 uses the new EN-EL25 battery, with an estimated battery life of around 300 shots per charge.
The Z50 is capable of shooting bursts at 11 fps with continuous AF. It can capture UHD 4K video at 24p and 30p, and a 120 fps option is available if you drop the resolution to Full HD. While the Z50 has a mic input, it lacks a headphone socket.
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| The Z50 with its 16-50mm F3.5-6.3 VR kit lens |
Along with the Z50 come two new kit lenses. First is the collapsible Nikkor Z DX 16-50mm F3.5-6.3 VR, which offers up to 4.5 stops of image stabilization and has a built-in control ring. For longer reach, there’s the Nikkor Z DX 50-250mm F4.5-6.3 VR, which offers 5 stops of shake reduction and also has a control ring.
The Z50 will be available in November for $ 859 body-only, $ 999 with the 16-50mm lens and $ 1349 with the 16-50mm and 50-250mm lenses. Both kit lenses will be available separately, with the 16-50 priced at $ 299 and the 50-250 at $ 349.
See all of our Nikon Z50 content
Press Release
Nikon Also Announces the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR, Two New Lenses That Deliver Incredible Image Quality and Outstanding Portability
MELVILLE, NY (October 10, 2019 at 12:01 A.M. EDT) – Today, Nikon Inc. announced the next Z series mirrorless camera, the DX-format Nikon Z 50, along with two new companion NIKKOR Z lenses, the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR. The new Nikon Z 50 takes full advantage of Nikon’s larger Z mount, providing creators of all types with the most innovative optical system for superior image and video quality. The compact and lightweight Nikon Z 50 was made for unique individuals seeking a camera that has the speed, portability and style to keep pace and share their creative storytelling and imagination, especially when paired with the new ultra-compact 16-50mm zoom and the slim 50-250mm telephoto zoom lenses.
“The new Nikon Z 50 is a small yet capable camera that brings the best of the Nikon Z series to all kinds of creators to discover, share and engage,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z DX lenses expands the Nikon Z series to provide new creative tools for those looking to take their photo and video passions to new heights.”
When a sudden case of jet-set wanderlust strikes, or if there’s an idea that just has to be shared in 4K video, the Nikon Z 50 is the unobtrusive companion that promises to help deliver content that truly stands out. This is Nikon’s first DX-format mirrorless camera, delivering a more compact lightweight system to those upgrading to mirrorless or discovering the Nikon Z mount system. The new Z 50 offers an ergonomic design, intuitive operability and the steadfast reliability Nikon is known for, but in a slimmer, lightweight and attainable body. Taking advantage of the Nikon Z mount, the Z 50 produces stunning image quality and provides optimal performance for any type of content creation, from still photography to high-quality 4K video.
SMALL ON SIZE, BIG ON FUN: The easy-to-carry, compact and lightweight 14-oz body of the Nikon Z 50 is designed with intuitive controls and an agile yet durable magnesium alloy frame. It’s effortless to carry while vlogging a vacation, hiking the backcountry or exploring a new part of town. Since it’s mirrorless, users can activate the silent shutter function for truly low-profile shooting in sensitive situations.
TELL YOUR STORY, BEAUTIFULLY: A DX-format 20.9-megapixel CMOS sensor delivers superior image quality, sharpness, color and tones to document it all, even in low light. The EXPEED 6 image-processing engine helps to achieve excellent low-light performance and the highest standard sensitivity in its class1 for still-image shooting – ISO 51,200 – so users can capture high-resolution photos in challenging lighting conditions, like concerts or night street photography.
HIGH-SPEED PERFORMANCE: The camera quickly locks focus with a 209-point Hybrid AF System that enables broad coverage of approximately 87% of the frame horizontally and 85% vertically. It’s also the first Nikon DX-format camera to employ Eye-Detection AF, which makes portrait photography simple by recognizing and instantly focusing on a subject’s eyes, even if they are moving. What’s more, with fast 11 fps (with AF/AE) continuous shooting, users can keep up with fleeting moments and never miss a moment of the action.
FLIP-DOWN SELFIE SCREEN: The Nikon Z 50 features an easy to use interface with a 3.2-inch flip-down LCD touchscreen that’s ideal for selfies and vlogging. The LCD features familiar soft keys and icons, while intuitive controls make storytelling simple. Selfie Mode automatically disables all but essential controls while the LCD is flipped down, which makes it easy for the photographer to turn the camera on themselves and capture flattering photos and videos without worry of accidentally changing settings.
EPIC VIDEO FEATURES AND NEW CREATIVE OPTIONS: Sharp, vibrant 4K video is just the beginning – Experience built in 120p slow-motion, time-lapse and interval timer as well as in-camera video trimming and 20 Creative Picture Controls. These Creative Picture Controls and Special Effect modes instantly transform an image or video footage, while Scene Modes automatically adjust settings to optimize performance for beginners. For smooth footage, the camera also incorporates additional built in stabilization while shooting Full HD or 4K video.
SHARE BETTER CONTENT, INSTANTLY: Built-in Wi-Fi® and Bluetooth connectivity along with support for the new SnapBridge2 version 2.6 app allows users to seamlessly share still images and videos with friends, families and followers. In addition to automatically sending gorgeous images to one’s phone, users now also have the ability to easily transfer video to their smart device quickly. The latest version of SnapBridge also supports RAW image transfer and advanced remote capture functions.
The new NIKKOR Z DX 16-50mm standard zoom and the NIKKOR Z DX 50-250mm telephoto zoom lenses are designed to complement the new Z 50, striking the balance of small size and sharp optics. The NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens is a slim zoom lens that lets users capture a wide variety of scenes, from beautiful landscapes to candid portraits. The compact telephoto NIKKOR Z DX 50-250mm f/4.5-6.3 VR lens allows anyone to go the extra distance and capture far-away subjects, like city skylines or birds in flight. When paired with the new lenses, Dual Detect Optical VR is enabled on the Z 50 to help control the effects of camera shake when shooting.
Both the new NIKKOR Z DX lenses unleash the potential of the Nikon Z mount, using the superior design flexibility made possible by the large-diameter and the 16mm flange focal distance to deliver outstanding optical performance and sharpness in a deceptively compact form factor.
In addition to achieving incredible image quality, the new NIKKOR Z DX lenses are optimized for video capture when paired with the Z 50, making them must-haves for emerging content creators. Both lenses promise reduced focus breathing, a customizable control ring for smooth control of aperture or exposure compensation, as well as fast and quiet operation. Additionally, the new lenses offer in-lens optical Vibration Reduction (VR) technology to allow for smooth recording, with camera shake compensation equivalent to 4.5 stops3 and 5.0 stops3, respectively.
Beyond these two new lenses, Nikon Z 50 users can enjoy greater variety in imaging expression by mounting any of the current lenses in the NIKKOR Z lineup. A vast selection of traditional F-Mount NIKKOR lenses is also available to shooters via the Mount Adapter FTZ, with many lenses retaining functions such as VR and AF.
The Nikon Z 50 will be available in November 2019, in several configurations including body-only for a suggested retail price (SRP) of $ 859.95*, a one-lens kit with the NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens for a SRP of $ 999.95* or a two-lens kit with both the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR lenses for a SRP of $ 1349.95.
For more information on the latest Nikon products, including the new Nikon Z 50, NIKKOR Z DX 16-50mm f/3.5-6.3 VR, NIKKOR Z DX 50-250mm f/4.5-6.3 VR and the full Nikon Z mount system, please visit www.nikonusa.com.
*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
| Price | |
|---|---|
| MSRP | $ 859 (body), $ 999 (w/16-50mm lens), $ 1349 (w/16-50 and 20-250mm lenses) |
| Body type | |
| Body type | SLR-style mirrorless |
| Body material | Magnesium alloy |
| Sensor | |
| Max resolution | 5568 x 3712 |
| Image ratio w:h | 1:1, 3:2, 16:9 |
| Effective pixels | 21 megapixels |
| Sensor photo detectors | 22 megapixels |
| Sensor size | APS-C (23.5 x 15.7 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 204,800) |
| Boosted ISO (maximum) | 204800 |
| Custom white balance | Yes |
| Image stabilization | No |
| Uncompressed format | RAW |
| JPEG quality levels | Fine, normal, basic |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Manual focus | Yes |
| Number of focus points | 209 |
| Lens mount | Nikon Z |
| Focal length multiplier | 1.5× |
| 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 | 100% |
| Viewfinder magnification | 1.02× (0.68× 35mm equiv.) |
| Viewfinder resolution | 2,360,000 |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/4000 sec |
| Exposure modes |
|
| Scene modes |
|
| Built-in flash | Yes |
| Flash range | 7.00 m (at ISO 100) |
| External flash | Yes (via hot shoe) |
| Flash X sync speed | 1/200 sec |
| Drive modes |
|
| Continuous drive | 11.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Format | MPEG-4, H.264 |
| Modes |
|
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC card (UHS-II supported) |
| Connectivity | |
| USB | USB 2.0 (480 Mbit/sec) |
| USB charging | Yes |
| HDMI | Yes (micro HDMI) |
| Microphone port | Yes |
| Headphone port | No |
| Wireless | Built-In |
| Wireless notes | 802.11ac + Bluetooth |
| Remote control | Yes (via smartphone) |
| Physical | |
| Environmentally sealed | Yes |
| Battery | Built-in |
| Battery description | EN-EL25 lithium-ion battery & charger |
| Battery Life (CIPA) | 320 |
| Weight (inc. batteries) | 450 g (0.99 lb / 15.87 oz) |
| Dimensions | 127 x 94 x 60 mm (5 x 3.7 x 2.36″) |
| Other features | |
| Orientation sensor | Yes |
| Timelapse recording | Yes |
| GPS | None |
| Nikon Nikkor Z DX 16-50mm F3.5-6.3 VR | Nikon Nikkor Z DX 50-250mm F4.5-6.3 VR | |
|---|---|---|
| Principal specifications | ||
| Lens type | Zoom lens | |
| Max Format size | APS-C / DX | |
| Focal length | 16–50 mm | 50–250 mm |
| Image stabilization | Yes | |
| CIPA Image stabilization rating | 4.5 stop(s) | 5 stop(s) |
| Lens mount | Nikon Z | |
| Aperture | ||
| Maximum aperture | F3.5–6.3 | F4.5–6.3 |
| Minimum aperture | F16 | |
| Aperture ring | No | |
| Number of diaphragm blades | 7 | |
| Optics | ||
| Elements | 9 | 16 |
| Groups | 7 | 12 |
| Special elements / coatings | 1 ED + 4 aspherical elements, Super Integrating Coating | 1 ED element, Super Integrated Coating |
| Focus | ||
| Minimum focus | 0.20 m (7.87″) | 0.50 m (19.69″) |
| Maximum magnification | 0.2× | 0.23× |
| Autofocus | Yes | |
| Motor type | Stepper motor | |
| Full time manual | No | |
| Focus method | Internal | |
| Distance scale | No | |
| DoF scale | No | |
| Physical | ||
| Weight | 135 g (0.30 lb) | 405 g (0.89 lb) |
| Diameter | 70 mm (2.76″) | 74 mm (2.91″) |
| Length | 32 mm (1.26″) | 110 mm (4.33″) |
| Sealing | No | |
| Colour | Black | |
| Zoom method | Rotary (extending) | |
| Filter thread | 46 mm | 62 mm |
| Hood supplied | No | |
| Tripod collar | No | |
Articles: Digital Photography Review (dpreview.com)
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Announced as a development way back in August last year, the Z 58mm 0.95 ‘Noct’ is Nikon’s fastest ever lens, described by the company as a no-compromise flagship prime designed for optimum image quality, to take full advantage of the new Z mount. Like ‘a well-tempered Japanese sword’. as one promotional pamphlet put it, and priced to match, at an MSRP of $ 7999.99.
Nikon has shown mockups of the Noct at several tradeshows over the past 12 months, but it was only recently that we got our hands on a working sample of the lens – albeit a pre-production copy. We’re still waiting for a reviewable lens, so you won’t find any shots of Seattle in this article, but click through to learn a little more about Nikon’s most expensive and undoubtedly most impressive Z-series prime.
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First things first, this is a big lens. At fifteen centimeters (six inches) in length and ten centimeters (4 inches) in diameter, the Noct dwarfs the body of the Z6/7. Weighing in at 2 kilos (4lb, 7oz) it’s heavy, too. So heavy in fact that Nikon has included an integral tripod foot, on a locking ring around the barrel.
While the weight of the lens didn’t threaten to pull the mount off our Z7 during normal handling, it’s not a combination suited to single-handed shooting. This image also shows the screw-in hood, which is lined with felt.
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Here’s a closeup view of the barrel of the Noct, showing the L-Fn and ‘DISP’ buttons, which operate in the same ways as those buttons on the Z 24-70mm F2.8 S (L-Fn can be configured in exactly the same way as the equivalent controls on Z-series camera bodies).
The control ring to the right works in the same way as other Nikon Z lenses too, and can be configured to do various things (i.e. to provide direct control over aperture or exposure compensation). On the left of this image you’ll see the enormous manual focus ring, which makes up almost half the total length of the lens.
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Since the Noct is a manual focus lens, it was important that Nikon got the feel of the focus ring exactly right.
The pre-production copy we were using had small ‘detents’ at various positions across its focus range, but we understand that these will not be present in final lenses, leaving the ring travel free and smooth. The throw of the mechanical (note: not focus by wire) focus ring is enormous (around 350 degrees), allowing for minute adjustments to focal position. The focus ring is easy to grip, being knurled with finely-machined grooves running down almost its entire length.
Despite the super-sized focus ring and large barrel diameter, the filter thread is a relatively modest 82mm.
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Like the Z 24-70mm F2.8 S, the Noct features a small display on the top of its barrel, which can be configured to show either the precise hyperfocal distance at the shooting aperture (shown above) or the shooting aperture itself. Minimum focus is 0.5m (1.6 ft) which equates to a maximum magnification ratio of 0.194X.
Being a digital display means the depth-of-field markings are able to adjust in response to the aperture being changed.
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Optically, the Noct is something quite special. Consisting of seventeen elements in ten groups, Nikon’s optical engineers have included three aspherical elements in this formulation, and four ED (extra low-dispersion) elements.
In addition to Nikon’s now-familiar Nano Crystal coating, the Noct also features the new ARNEO coating (also seen in the Z 24-70mm F2.8 S) for addition control of flare and ghosting.
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The original Noct-Nikkor 58mm F1.2 was released in the late 1970s (not coincidentally, the development of this version was announced on its 40 year anniversary) as a high-priced, very specialized lens, designed to accurately render point light sources across the frame when shot wide open (‘Noct’ denoting to its expected nighttime applications).
The original Noct contained seven glass elements, and weighed a little under 500g. Compare that to the 17 elements of the new Z version, which tips the scales at a fraction over 2000g.
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As you can see in the image above, this is not your average standard prime.
Faster and more expensive than its 1970s forebear (faster and more expensive than almost any lens, in fact) and designed from the outset for high resolution digital imaging, the Z Noct is a lens that that will be made and sold in very small numbers but which Nikon hopes will be a benchmark for a long time.
In the meantime, we’re hoping to get hold of a final copy soon, and we’ll share sample images as soon as we can. For now, start saving up your pennies and let us know what you think about it in the comments.
Articles: Digital Photography Review (dpreview.com)
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If you want a camera that you can pick up and use without having to page through the manual first, then this guide is for you. Some of the cameras in this guide have robust auto modes that let you ‘set it and forget it’, while others have clever interfaces to translate more complex subjects into easily comprehensible language, often with visual guides.
We’ve included cameras in various classes (and thus prices) in this guide, from compacts costing a few hundred dollars to a full-frame model that will produce much higher quality images but sells for around $ 1300. Read on to see what we think is the most user-friendly camera on the market.
The Canon SL3 works perfectly well in its Auto (A+) mode, where it will select the correct settings for the detected scene, such as a sunset. It also gives you the opportunity to tinker with exposure and color settings using a clever interface known as Creative Assist. There, you can adjust things like background blur (AKA aperture), brightness and color saturation (helpfully illustrated with tulips).
When you switch into ‘regular’ exposure modes (like Program), the camera still provides visual aids showing the effect of changing things like aperture and shutter speed, but this time you actually see the values (such as the F-number) you’re adjusting. And this interface shows you how to operate the camera if you ever opt to remove the ‘training wheels.’
As a camera, the SL3 takes very good photos, uses Canon’s excellent Dual Pixel AF system for video and live view, and is as close to ‘pocketable’ as you’ll get on a DSLR.
While the Canon EOS Rebel SL3 (250D) was our winner, there are several other easy-to-use cameras that are also worth consideration. We’ve listed them all out below with detailed breakdowns of their features and performance:
Also available:
* This camera has not yet been fully reviewed and is thus not eligible for an award.
Articles: Digital Photography Review (dpreview.com)
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APS-C is a strange sensor format. Derived from the dimensions of the short-lived Advanced Photo System film negative, it emerged as the dominant format in the early days of the DSLR revolution largely because for many years, full-frame digital sensors weren’t a practical option in consumer-level cameras. Canon used the even more obscure APS-H format for a few generations of its sports-oriented EOS-1D series, but by 2012, full-frame was solidly (re)established as the ‘professional’ format for both of two biggest D/SLR manufacturers.
Given the inherent messiness of adapting film-era platforms to digital, it’s no surprise that the respective APS-C strategies of the major D/SLR manufacturers have seemed a little confused at times over the past couple of decades. Now though, with every one of them (except Pentax/Ricoh) either defunct or offering at least one mirrorless lens mount, we are officially, finally, in a post-film era. As such, you’d hope that the battle lines in the so-called ‘format war’ might have become a little clearer.
Well, the first thing it tells us is that there actually is a strategy. Nikon clearly believes that right now, and for the foreseeable future, a market exists for cameras which do not contain full-frame sensors.
Here’s Naoki Kitaoka, Department Manager of the UX Planning Department in the Marketing Sector of Nikon’s Imaging Business Unit, in conversation with me back in March.
“Since we launched the Z series, our DX format DSLR users have been asking us to apply mirrorless technology to the DX format as well. If we employ APS-C sensors [in mirrorless] maybe the system can be made even smaller”
Boiled down, this translates to ‘our customers have been asking for mirrorless APS-C, and we may take that opportunity to create even smaller cameras’. These hints, plus the steady flow of rumors over the past few months, made the Z50 (or something like it) inevitable.
To dismiss DX format Z-mount at this stage is like deciding a TV show will never be good because you don’t like the pilot
My colleagues Richard and Carey probably speak for a lot of our readers when they say that on the face of it, the Z50 feels a little underwhelming, and I tend to agree with them. But we all know that one camera and a couple of kit lenses alone do not represent a fully executed plan. It would be silly to dismiss DX format Z-mount development at this stage – it’s rather like deciding a TV show will never be any good just because you don’t like the pilot.
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| The Z50 (L) shares a lot of its DNA with the full-frame Z6 (R), including a generous grip and twin-dial ergonomics. Its main differentiators compared to Nikon’s FX line are size, weight, accessibility and cost. |
However, the fact that Nikon is pushing APS-C as ‘smaller’, and the fact that the Z50 isn’t launching with a fast prime lens or two is a pretty clear signal that – for now – the company would prefer enthusiasts and professionals to focus on its full-frame Z cameras. That doesn’t mean we won’t see (for example) a DX 23mm F1.4 at some point. I just think it’s unlikely to happen any time soon, and as per Nikon’s roadmap, definitely not in the next couple of years. If I were a betting man, I’d put money on Nikon’s next DX Z camera being a slimmed-down, cheaper version of the Z50.
In effect then, it looks like Nikon is doing with the Z mount what it has been doing with the F mount for the past ten years: Making APS-C products for beginners and hobbyists, and full-frame cameras for advanced enthusiasts and professionals. 1 For APS-C users that want to expand their creative horizons with additional, more serious lenses, they’ll have to invest in the FX lens lineup, and accept a 1.5X increase in effective focal length. Or, better yet, jump in with both feet and upgrade to a full-frame camera.
Exhibit A: Nikon’s spotty record when it comes to DX lens development for its F-mount DSLRs, which has seen only one dedicated DX prime (the Micro Nikkor 40mm 2.8) released in the past ten years.
Given the size and weight advantages bestowed by APS-C, manufacturers see more potential for entry-level users
Why this lack of dedicated DX lenses? The brutal fact is that most APS-C cameras that are sold are bundled with one lens – the kit zoom – and the majority of the people that buy them never add another lens to their collection. 2
There’s an argument to be made that this is a self-fulfilling prophesy – Nikon’s APS-C customers can’t very well buy lenses that don’t exist, can they? But look at the market as a whole – with a handful of honorable exceptions, there are very few high-quality lens options available for APS-C anywhere, including from third-parties.
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| The only manufacturer currently marketing a really convincing range of ‘professional’ APS-C products is Fujifilm. Skipping full-frame entirely, Fujifilm has focused on the strengths of the smaller format when it comes to speed and mobility, while its high-resolution medium format GF lineup caters to landscape and portrait professionals. |
That doesn’t mean that enthusiast-focused APS-C systems are impossible (just look at Fujifilm) but it does help explain why the big hitters of the D/SLR era remain wary about spending a lot of money developing lenses optimized for this format.
Given the undeniable size and weight advantages bestowed by APS-C, manufacturers understandably see more potential here for attracting entry-level users, perhaps even first-time camera buyers upgrading from smartphones. Witness the Z50: A small stills/video camera, packed with Instagram-friendly filter effects, but versatile enough, and with a deep enough ergonomics to allow for creative growth.
This is an article about Nikon, but I would like to briefly touch on Canon’s APS-C strategy. Here’s Canon, also speaking to us back in March, when we visited the CP+ tradeshow in Yokohama:
“We wanted to develop RF to its full potential, so we wanted the latest specifications, state-of-the art technology and design. In the process of developing a no-compromise system, it became apparent that this wouldn’t be compatible with EF-M.”
In short – when developing the RF system, Canon determined that any attempt to incorporate compatibility with EF-M would result in unacceptable compromises. Very likely, in other words, RF is full-frame only, now and forever.
Canon really doesn’t want you mounting an RF lens on an EOS M body, or putting an EF-S lens on a full-frame EOS DSLR
Whereas Nikon is now supporting, in effect, four lens lineups: Full-frame (FX) and APS-C (DX) for two systems, Canon’s four mounts (EF, EF-S, EF-M and RF) span three systems. Of those four flavors of lenses, only EF lenses can be used on all three mounts. An EF-S lens won’t go on a full-frame EOS body, an EF-M lens won’t go on a full-frame EOS or RF body, and an RF lens won’t go on an EOS or EOS M body.
On the face of it, that’s a muddle. Nikon’s approach, whereby DX and FX lenses are interchangeable on either format, but force either a crop or a focal length increase, appears more logical. But this cross-system incompatibility is probably very deliberate on Canon’s part. Even if it were mechanically possible, Canon wouldn’t want you mounting an RF lens on an EOS M body, or putting an EF-S lens on a full-frame EOS DSLR, because they don’t want you to cross the streams.
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| Canon’s EOS M6 II is the company’s most ‘serious’ EOS M camera to date, and operationally it’s quite similar to Nikon’s Z50. Both cameras are aimed at beginner and casual photographers, but both offer enough creative control to allow for growth (and differentiate themselves from smartphones). |
Canon wants to keep the channels clear, by making one set of products for its APS-C customers, and another for the full-framers, with no cross-talk to confuse the signal.
Unlike Nikon (whose adventures in the 1-inch sensor format could be the subject for a whole other article) Canon has been testing the waters of large-sensor mirrorless for a while with the APS-C EOS M lineup, which debuted in 2012. Significantly, the M-mount was, is, and always will be an APS-C mount, for engineering reasons.
After a slow start, EOS M has evolved into a really nice little system. The EOS M6 II is terrific, there’s (finally) a decent fast prime in the EF-M lineup, and Sigma’s recent announcement that its popular DC DN lenses will be available for the system is good news, too. 3
For all that, it’s still a system which is ostensibly aimed at beginners and hobbyist photographers. The implied message is that if you want to take advantage of the best technology (especially optical technology) that the company has to offer, you’ll need to step up to full-frame. And that means RF.
On a strategic level, then, Canon and Nikon’s APS-C plans appears to be pretty much the same: Differentiate the format from full-frame by aiming at the entry-level and hobbyist demographic, and hope that those customers eventually step up to the larger sensor format.
The difference is that with Nikon, if want to you go from DX to FX (or back the other way) you don’t necessarily need to invest in a whole new set of lenses to do so. One downside of Nikon’s approach is that by putting a small APS-C sensor into a large full-frame mount, Nikon has placed a hard limit on the compactness of any resultant DX Z-mount cameras.
With Nikon, if you go from DX to FX you don’t need to invest in a whole new set of lenses
In the end, then, Nikon’s approach to APS-C and full-frame development is very Nikon: Focus on one mount, develop your best lenses for the common sensor format (FX) and get the most out it by allowing for cross-compatibility of DX and FX optics. And Canon’s strategy is very Canon: Give crossover customers a dedicated (and genuinely compact) crossover system, in the form of EOS M, and take the opportunity presented by a major new technology platform (full-frame mirrorless) to optimize optical development around a dedicated new mount (RF).
If the market for enthusiast APS-C products ever looks like growing, both manufacturers can meet that requirement with their mirrorless platforms. 4 But while Canon has opted to draw a clear, uncrossable line between APS-C and full-frame, Nikon would like us to believe that one – really wide – mount can accommodate more than one kind of photographer.
1: The exception to this general rule being the D500, which was in effect a companion camera to the D5 with a built-in 1.5X teleconverter when used with FX lenses (which, make no mistake, were the lenses Nikon wanted professional D500 users to shoot with).
2: This is one of the reasons that third-party lens manufacturers tell us that they don’t see much of a future in the wider APS-C market right now.
3: Of course the Sigma announcement can be read in two ways – as a vote of confidence in M from an influential third-party lens manufacturer, or possibly as an indicator that following the launch of its RF mount, Canon may have reassessed the cost/benefit calculation of keeping EF-M lens development to itself, versus licensing it to third-parties. In truth, it may be a bit of both.
4: Meanwhile we’ll probably continue to see both companies selling increasingly iterative budget APS-C DSLRs for a few more years. At the risk of mixing metaphors, that cash cow still has some milk left in it.
Articles: Digital Photography Review (dpreview.com)
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| Protruding camera bumps like on the iPhone 11 Pro Max could soon be a thing of the past. |
Smartphone cameras have been improved a lot over recent years and while many improvements are down to software and image processing, hardware also plays a big part. Sensor sizes have been increased, lenses have become faster and optical tele lenses offer better zoom performance.
However, there’s also a drawback to these developments. Due to the laws of physics, faster and longer lenses, especially when combined with larger sensors, take up more space in a device. Combined with the device designers’ obsession with ultra-thin bodies this resulted in many devices coming with unsightly ‘camera bumps’ that protrude from otherwise perfectly smooth smartphone housings.
Those bumps could soon be a thing of the past, though. A research team at the University of Utah has developed a super-thin camera lens that would easily fit even in the thinnest smartphone body.
Current lenses are, depending on lens type and sensor size of the camera, a few millimeters thick. The new lens type is only a few microns thick, that’s about a thousand times thinner than current smartphone lenses. They are also one hundred times lighter.
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| Flat lens developed by researchers at the University of Utah, photo: Dan Hixson/University of Utah College of Engineering |
The method the researchers have used to make this possible has been detailed in a research paper published in the Proceedings of the National Academy of Sciences. The new lenses are flat and consist of a large number of microstructures, each bending the light towards the sensor rather than just one single piece. As part of the project the team also developed a fabrication process using a new type of polymer and algorithms than can calculate the exact geometry required for these microstructures.
‘You can think of these microstructures as very small pixels of a lens,’ says Rajesh Menon, one of the co-authors of the project, ‘They’re not a lens by themselves but all working together to act as a lens.’
According to the scientists, the new lens type could also help give smartphones thermal imaging capabilities as well as design more lightweight military drones that could fly longer and lighter night vision cameras for soldiers in the field.
Articles: Digital Photography Review (dpreview.com)
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| Taken with iPhone 11 ISO 500 | 1/30 sec | F1.8 |
The bokeh-imitation effect that’s all over your Instagram feed is a few generations old, but it’s still a relatively young technology. Portrait Mode, as Apple calls it, is a computational feature that mimics the shallow depth of field closely associated with professional portrait photography. The latest iteration in the iPhone 11 is a great leap forward and, when compared with Google’s Pixel 3, shows that the search-engine giant is going to have to do something pretty special with the forthcoming Pixel 4.
Just to make sure you’re caught up – phone sensors and the lenses they are coupled with are quite small, and inherently limited in their ability to create a blurry background behind a subject. Hence, portrait mode was born (Portrait Mode is Apple’s proprietary name, but for the sake of simplicity I’ll use it throughout this article to refer to all such modes).
Compared side-by-side with results from the iPhone 11, the Pixel 3 has been surpassed in many respects
Like so many first-generation technologies, portrait mode was a bit dodgy at first – subjects poorly separated from their backgrounds and results that were decent but not quite convincing. But no matter where you stand on its current state from “It’s so terrible it’s an insult to photographers” to “Eh, it’s passable,” there’s no denying that it has steadily improved with each generation.
Apple, like most manufacturers, introduced Portrait Mode when it brought dual cameras to its devices. However, Google chose to offer it with a single camera, relying on dual pixel depth data, machine learning, and up-sampling to create that fake bokeh look. The results looked fine until, well, about now.
Compared side-by-side with results from the iPhone 11, the Pixel 3 has been surpassed in many respects. Here are the areas in which the iPhone 11 pulls clearly ahead of the Pixel – and where Google needs to do some catching up in the Pixel 4.
Google achieves its portrait mode by digitally zooming in to mimic a longer focal length and creating a depth map by using dual pixels along with a learning-based algorithm to judge distance to a subject and separate it from its background, up-sampling the final result to a full 12MP resolution. Apple (and Samsung, Huawei, among others) instead use their telephoto camera, calculating depth with the help of the perspective offset between the telephoto and wide cameras – no cropping or up-sampling needed.
The images below demonstrate the difference – note that to match the subject’s size in the frame using the two different focal lengths, the 3a image was taken from about a meter farther back than the iPhone 11.
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Pixel 3 – 100% crop |
iPhone 11 – 100% crop |
Of course the vast majority of portrait mode images will be viewed on a phone or computer screen, where the difference in detail is much harder to spot. Still, looking at the images above at even a 50% crop shows a vast difference in the level of detail captured, and all things being equal we’d much rather have more detail than less.
We’ve previously noted the Pixel 3’s fantastic ability to render high-contrast scenes, but one place this falls flat is with backlit portrait subjects. The camera’s tendency to preserve highlight detail and push up shadows is normally what we’d prefer, but it doesn’t work well when the shadows are your main subject.
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| Pixel 3a | iPhone 11 |
The resulting image shows that the Pixel does a poor job of rendering the cat’s orange fur, giving him an overall ‘crunchy’ look in comparison to the more pleasing rendering by the iPhone. In our testing, the Pixel 3 has consistently shown this tendency to expose for highlights, even when it might do better to choose an exposure better suited to your human or feline subject, at the cost of highlight detail. Even tapping the subject’s face doesn’t adjust the exposure as much as we’d like.
The most sophisticated depth mapping in the world won’t save an image from bad-looking skin tones, and this is one area where Google really needs to catch up. The subject below is lit by window light that’s much cooler than the yellow lights of the kitchen behind him. It’s a tricky situation for sure, but the iPhone has clearly made the right call to warm up the subject’s skin tone rather than preserve the cool cast of the window light.
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| Pixel 3a | iPhone 11 |
To be fair, both of these phones are susceptible to producing noticeably different colors based on slight shifts in framing, or using a different camera mode like Night Sight. But over the course of much use, we’ve seen that the Pixel 3’s standard camera mode renders skin tones particularly poorly by comparison.
Apple’s face smoothing and skin tone rendering has a tendency to go too far in some situations, and there are times when we prefer the more faithful color rendering of the Pixel. It’s also pretty easy to correct the Pixel’s skin tone rendering in the phone’s own Photos app, but we’re betting that most people don’t want to (and won’t) take the time to color correct every portrait that they take.
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| Taken with iPhone 11 | ISO 200 | 1/60 sec | F1.8 |
Apple’s XR introduced wide-angle portrait mode to the iPhone, but the 11 and 11 Pro improve on it with more accurate depth maps thanks to the availability of the ultra-wide lens. Thus, the 11 offers a very good wide Portrait mode via its standard lens, and the 11 Pro offers both telephoto and wide portrait options.
Whether you prefer the look of a telephoto or wide portrait is of course a personal preference, and I tend to prefer the wide portrait mode on the iPhone 11. I like an across-the-table environmental portrait, which usually requires backing up if I’m using the telephoto lens or the crop imposed by the Pixel 3.
Whether or not you like the crop, it being forced on you makes it less flexible and, in my book, I’d rather have that wide-angle – and I’m sure I’m not alone.
To be fair, there are things we prefer about the Pixel 3’s portrait mode. We find it’s much less prone to obvious errors in cutting around human subjects than the iPhone 11. I also far prefer using Google Photos to Apple’s iCloud, so the seamless integration with my photo archive is a big plus.
Healthy competition between two big tech companies keeps pushing phone camera technology forward at a rapid pace
We can also say with some certainty based on leaks and rumors that the Pixel 4 will address some of these shortcomings. We know that the device will offer more cameras, which will likely improve portrait mode. Whether we’ll see improvements to skin tones or better handling of backlit subjects is less certain, though encouragingly, leaked photos do show better rendering of skin tones. All will be revealed soon, but one thing is for sure – healthy competition between two big tech companies keeps pushing phone camera technology forward at a rapid pace, and that’s nothing but good news for the photo-taking public.
Articles: Digital Photography Review (dpreview.com)
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The latest Pixelmator Pro version 1.5 Avalon comes with a number of updates, including support for macOS Catalina, the Mac Pro, Pro Display XDR, machine-learning powered noise reduction and improved performance.
The Mac image editing package is now fully compatible with macOS 10.15 Catalina, including support for Sidecar and Apple Pencil. Pixelmator Pro users running Apple’s latest OS can now extend their desktop workspace with an iPad and use the Apple Pencil for painting, retouching and illustration tasks. This includes the Pencil’s double-tap gesture for undoing and redoing, switching between Paint and Erase tools, or showing the Apple Colors window.
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In addition the software’s editing engine has been optimized to take full advantage of the new Mac Pro’s power reserves. Pixalmator says that thanks to multi-GPU processing, the new Core ML-powered ML Denoise is applied up to 2.5 times faster on a Mac Pro with 2 GPUs compared to and iMac Pro.
The Apple Pro Display XDR’s 10-bit color depth and P3 wide color gamut are supported as well and the Pixelmator claims the new Extended Dynamic Range Mode lets you see previously invisible detail when editing RAW image files.
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ML Denoise is a new noise reduction tools based on machine-learning. It is designed to remove luminance and color noise and can reduce compression artifacts. Pixelmator says the tool has been trained to intelligently preserve details, avoiding the blurring effect of simpler denoising tools.
Performance improvements include 10 times faster zooming and scrolling, up to 2.4 times faster painting and up to 2.7 times faster effect rendering.
Pixelmator Pro 1.5 Avalon is available today on the Mac App Store as a free update for existing users. New customers will have to invest $ 39.99 and am upgrade discount is available for users of the original Pixelmator app. More information is available on the Pixelmator website.
Articles: Digital Photography Review (dpreview.com)
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We’re sad to report that Imaging Resource, one of our most longstanding (and very friendly) competitors is set to close at the end of 2019, after more than 20 years. In a lengthy message to friends in the industry, founder Dave Etchells confirmed that while the site will remain available through at least spring next year, content production will most likely cease in the coming months.
Imaging Resource and DPReview grew up together in the early days of consumer digital imaging, and although many of our respective readers might imagine that we’ve had a competitive relationship, the truth could not be more different. The photo industry is, by and large, a friendly and close-knit community. A community of nerds, sure. And not a few misfits, but bonded together over a common interest in photography and technology. As king of the nerds (and I know he would have no problem with me saying that) Dave has been a central, and literally towering figure for 20 years.
Although many of our respective readers might imagine that we’ve had a competitive relationship, the truth could not be more different.
We have worked closely with Dave and his team of writers since our respective sites were in their infancy. Just personally, I’ve had the pleasure of accompanying Dave on several factory tours, including some where we were the only two journalists present. Along the way we’ve shared notes, resources (you’ll find our images in Dave’s recent Sigma factory tour article, and a lot of Dave’s insights in ours!) and of course a lot of hangovers.
I hope that there are still a few shared hangovers ahead of us, because the chances of Dave and his team leaving the photo industry entirely seem extremely thin (it’s kind of like the mafia, in that respect). And on that note, we’ve been in communication with Dave about I.R.’s pending closure for some time, and I’m hopeful that we can play a part in continuing its legacy going forward into the future.
For now, I hope you’ll join me, and everyone at DPReview in wishing Dave and his team well, and we invite you to leave thoughts, best wishes and memories in the comments.
Articles: Digital Photography Review (dpreview.com)