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  • All those moving elements: LensRentals looks inside the Leica SL 24-90mm F2.8-4

    LensRentals Leica SL 24-90mm F2.8-4 teardown

    The Leica SL 24-90mm F2.8-4 may not break any new technical ground, but when the SL’s ‘kit’ lens made its way to LensRentals headquarters, the team endeavored to take a careful look inside. With the solidly constructed lens partially disassembled, they got a closer look at its impressive number of moving elements. Take a look at some of the highlights here, and for a full look inside the 24-90mm head over to LensRentals.

    Weather-sealing

    Sliding the rear of the lens off took a little muscle according to LensRentals’ Roger Cicala, ‘as it’s very tightly sealed by the thick, greenish weather gasket underneath.’ Leica promises this keeps the lens protected from dust, moisture and splashes.

    The inner barrel assembly

    With the zoom key and six screws in the internal chassis removed, the outer assembly of the lens barrel can be removed, and Cicala finds that ‘the zoom and focus rings are one modular assembly connected to the main chassis.’

    Not all focusing mechanisms are created equally

    With the inner barrel exposed, part of the 24-90mm’s focus-by-wire linkage can be seen. Says Cicala: ‘I won’t argue with those who prefer a mechanical focusing linkage, and I agree that some electric focusing mechanisms feel sloppy and inaccurate. But I’ll add that they aren’t all made equally, and the Leica focus feels quite good and seems very accurate.’

    A ‘complex dance’ of moving elements

    With the casing and front barrel removed, the lens’ helicoid grooves are visible. These allow the moving elements to travel on their separate paths. ‘This is a really nice example of the mathematical formulas involved when you move elements. Notice none of those grooves are parallel; as you zoom the lens the various elements move in a rather complex dance.’

    Focusing assembly up close

    Although they’d sworn not to do a full teardown, Roger and company wanted a better look at the focusing group so out it came. And that’s where things got interesting. 

    ‘You can see the stepper motor (green line) of course. The actual focusing element is what Aaron is holding the group by. The larger group in the center is where the entire assembly is attached to the helicoid. One of the first things we notice (red arrows) is this group has 3 pairs of adjustable eccentric collars. These were thoroughly glued in place so we left them alone, but it seems each pair has one collar for tilt and another for centering of this group. None of the other moving groups had eccentric adjustment collars visible.’

    A peek at IS

    The teardown stops at this point, but not before a glance up the barrel toward the image stabilization unit. While those screws tempt Cicala and crew, memories of finicky IS systems kept them from going any further.

    See the entire peek inside the SL 24-90mm at LensRentals.com

    Articles: Digital Photography Review (dpreview.com)

  • CP+ 2016: Hands-on with new Sigma SD cameras and lenses

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    Sigma announced several new products at CP+ 2016, including two new cameras. The interchangeable lens SD Quattro And SD Quattro H represent a new departure for the company in two senses – both are mirrorless cameras, and the ‘H’ features an APS-H format sensor. More conventional are a new 50-100mm F1.8 DC HSM Art zoom and 30mm F1.4 DC DN Contemporary prime for mirrorless cameras.

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    Ergonomically, the new SD Quattro and Quattro H are far more conventional than the DP-series compact cameras in Sigma’s lineup. But both still handle very differently to most other mirrorless interchangeable lens cameras. They’re boxier, for one thing, with a distinctive body shape, and a viewfinder that’s much further to the right than the majority of DSLRs and EVF-equipped mirrorless models. 

    The 2.3MP viewfinders in Sigma’s new cameras are sharp and detailed, although our preliminary impressions of the cameras’ hybrid autofocus systems aren’t terribly encouraging. We’re hoping that the slow, hesitant AF that we experienced is a symptom of these early, pre-production cameras because in most other respects the new models handle very well. 

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    That being said, the cameras are comfortable to hold, and feel like ‘premium’ products, as we’d expect from Sigma at this point. This view highlights the unusually deep lens throat, which protrudes a good inch or so from the front of the main camera body. Here, we’ve attached a (Sigma mount, of course) 50mm F1.4 ‘Art’, and the total package handles (and balances) very well. 

    Ergonomically, the SD Quattro and SD Quattro H are identical. The only difference is the size of their sensors. Sigma claims that the Foveon sensors inside the SD Quattro and SD Quattro H offer resolutions equivalent to 39 and 51MP respectively, in conventional Bayer terms. 

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    The new cameras are being launched alongside a new flash – the EF-630. Compatible with ‘with most well-known digital SLR cameras’ (and the Sigma SD Quattro / H) the EF-630 has a guide number of 63, and the articulating head can zoom to cover focal lengths from 24-200mm. 

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    We don’t normally get too excited by flashguns but the EF-630 is an unusually solid-feeling, well-made unit. As well as on-camera use it can also be triggered wirelessly.

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    As well as a new flash, the SD also gets a new dedicated grip. The grip adds duplicated vertical controls and can incorporate two batteries. It also converts the SD Quattro’s unconventional body shape into a more traditional flat-sided form. Booooring…

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    Not at all boring is the new 50-100mm F1.8 DC HSM Art, which provides a 75-150mm focal length range on the APS-C format DSLRs for which it’s designed. Offering a fast maximum aperture and standard ‘Art’-series construction quality the 50-100mm is solid, heavy and luxuriously engineered. 

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    With enthusiast APS-C format DSLRs enjoying something of a resurgence in the past couple of years, we suspect there are a lot of Canon EOS 7D Mark II and prospective Nikon D500 owners who will be very excited by this lens. The 50-100mm features three FLD (F Low Dispersion) glass elements, one SLD (Special Low Dispersion) glass element, and one high-refractive index, high-dispersion glass element. We expect this lens to deliver great results and we’re keen to see how it performs. 

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    At the other end of the size and weight scale is he 30mm F1.4 DC DN Contemporary. A small, lightweight prime for mirrorless cameras, the 30mm F1.4 is available in two versions – one for Micro Four Thirds (shown here) and another for Sigma’s APS-C mirrorless E-mount cameras. We were able to use both versions briefly at CP+ and we’re especially impressed by how fast the lens can focus. Eventually, we’d love to see Sigma make a version for full-frame mirrorless (you’ll get heavy vignetting if you put the E-mount version on an A7-series camera). 

    The 30mm F1.4 will ship in mid-March at an MSRP of $ 339, while the 50-100mm F1.8 is expected in late April priced at $ 1099.

    CP+ 2016: Firing up the Quattro – Hands-on with new Sigma SD cameras and lenses

    Sigma’s final CP+ announcement was the Mount Converter MC-11, which lets you attach Sigma’s most recent lenses (in either Canon or Sigma mount) on full-frame or APS-C E-mount bodies. The MC-11 adapter is able to support phase detection AF with adapted lenses, and makes use of both camera and lens stabilization when present.

    Effectively an own-brand version of Metabones Canon EF to FE adapters, the MC-11 (sort of) answers a long-standing complaint of Sony A7-series owners about the lack of full-frame Sigma lenses for their chosen platform. Pricing and availability has yet to be announced. 

    Articles: Digital Photography Review (dpreview.com)

  • History Repeating: Olympus PEN-F Review

    The original Olympus PEN-F first hit the streets in 1963. Built around the half-frame film format, it quickly gained a following thanks to its beautiful, yet simple design and small size. Getting 70 images to a roll of film probably didn’t hurt, either. Now, 53 years later the PEN-F is back.

    The digital reincarnation of the 35mm film Olympus PEN-F does not replace the current digital PEN flagship E-P5, rather it slides in next to it as the ‘premium’ option in the PEN family. The reason being that unlike digital PENs before it, the F has something much more OM-D-like: a built-in 2.36 million dot OLED electronic viewfinder. The F also boasts the highest output resolution of any Olympus body to date, boasting a 20MP Four Thirds sensor (probably the same one we’ve seen in the Panasonic Lumix DMC-GX8).

    Released specifically to appeal to street shooters and the design conscious looking for a capable camera with retro-styling and rangefinder-like controls, the PEN-F has a lot going for it.

    Olympus PEN-F features:

    • 20MP Live MOS Four Thirds format sensor
    • 5-axis image stabilization with automatic panning detection
    • 2.36 million dot OLED electronic viewfinder
    • Up to 10 fps continuous shooting (20 fps with electronic shutter)
    • Highly customizable interface, twin controls
    • Fully articulating 1.04 million dot, 3″ LCD touchscreen
    • 50MP High-res Shot mode
    • 1/8000 sec top mechanical shutter speed (1/16,000 with e-shutter)
    • 1080/60p video recording

    All of the above come packaged in a machined aluminum and magnesium body, with no visible screws anywhere. A faux-leather wrap encircles the PEN-F and the body itself is both well-weighted and has a very solid feel to it. 

    With many of the same guts as the OM-D EM-5 II and sleek rangefinder-style looks (reminiscent of Fujifilm’s X100 series cameras), the most direct Micro Four Thirds competitor to the PEN F is the Panasonic GX8, which also uses a 20MP chip. Other close competitors include the Sony a6000, a6300 and the Fujifilm X-E2S – all of which are APS-C format cameras. Of course, the PEN-F also has to compete against alternatives within the OM-D series as well.

    To help us to better understand how the PEN-F fits into the market place as a whole, we chatted with Eric Gensel, a technical specialist with Olympus. He breaks down exactly how the PEN-F fits in Olympus’ lineup, who the target-audience of the camera is and what went into the design process:

    Compared to its siblings

    Many of the highlight features of the PEN-F aren’t new. In fact a lot of the key spec is shared with other recent Olympus releases. However, some functions have been improved upon. For instance, thanks to its 20MP sensor, the Pen F is capable of higher resolution in multi-shot mode compared to the OM-D E-M5 II, up to 80MP in Raw mode (50MP in JPEG). It also features a dedicated creative control knob on the front, as well as four customizable shooting modes, accessed via the locking exposure mode dial.

    It’s hard to see the PEN-F as a large step forward given how many of its core features are inherited from other models, but it offers a handling experience that is unique in Olympus’s lineup. Is the PEN-F more than just a pretty face? Let’s dig in.

     
    Olympus PEN-F
    Olympus OM-D
    E-M5 II
    Olympus PEN E-P5
    Pixel count 20MP 16MP 16MP
    Image stabilization 5-axis 5-axis 5-axis
    Stabilization (CIPA) 5 stops 5 stops 4 stops
    Max shutter speed

    1/8000
    (1/16000 electronic)

    		 1/8000
    (1/16000 electronic)    		 1/8000
    On-sensor PDAF No No No
    Continuous shooting
    (without /with AF)    		 10 fps / 5 fps 10 fps / 5 fps 9 fps / 5 fps
    Flash Clip-on
    Tilt/bounce/rotate    		 Clip-on
    Tilt/bounce/rotate    		 Pop-up flash
    Viewfinder Built-in 2.36M-dot LCD
    1.23x mag    		 Built-in 2.36M-dot LCD
    1.48x mag    		 Optional VF-4 accessory EVF w/ 2.36M-dot LCD and 1.48x mag
    Max video res/rate 1080/60p 1080/60p 1080/30p
    Max bitrate 77Mbps 77Mbps 20Mbps
    Mic socket No Yes No
    Rear screen

    Fully articulating 3″ touchscreen
    1.04M-dots

    		 Fully-articulated
    3.0″ touchscreen
    1.04M-dots    		 Flip up/down
    3.0″ touchscreen
    1.04M-dots
    Wi-Fi Yes Yes Yes
    Environmental sealing? No Yes No
    Battery life (CIPA) 330 310 330
    Weight 427 g 469 g 420 g
    Dimensions 125 x 72 x 37mm 124 x 85 x 45mm 122 x 69 x 37mm

    Pricing and availability

    The Olympus PEN-F will be available at end of February – early March 2016, and will hit the streets at a body-only price of $ 1199. It ships with the FL-LM3 flashgun seen in the image at the top.

    If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

    Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

    We recommend to make the most of this review you should be able to see the difference (at least) between X, Y, and Z and ideally A, B, and C.

    This article is Copyright 1998 – 2016 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.

    Articles: Digital Photography Review (dpreview.com)

  • CP+ 2016: Hands-on with Nikon DL Compacts

    CP+ 2016: Hands-on with Nikon DL Compacts

    DPReview is at the CP+ 2016 show in Yokohama, Japan, where Nikon announced three new compact cameras. The ‘DL’ range is distinct from the established Coolpix and 1-series lineups, and consists of three cameras built around the same 20MP 1″-type sensor. We headed straight to Nikon’s booth to get hands-on time with the DL18-50, DL24-85 and DL24-500.

    CP+ 2016: Hands-on with Nikon DL Compacts

    The DL24-85 is (we suspect) going to be the most popular of the three cameras, at least for the average DPReview reader. The 24-85 in its name designates a 24-85mm equivalent focal length range. This is a useful everyday focal range for general shooting and the lens is fast enough for low-light work and some control over depth-of-field for portraiture.

    CP+ 2016: Hands-on with Nikon DL Compacts

    This is the DL18-50 is ergonomically virtually identical to the DL24-85 but offers a considerably wider and shorter lens which covers an equivalent focal length range of (you guessed it) 18-50mm. The maximum aperture range of both cameras is identical, at F1.8-2.8. This wider range should make it more suitable for landscape and street photography fans, and just personally, I’m really looking forward to taking it hiking.

    CP+ 2016: Hands-on with Nikon DL Compacts

    The lenses of the DL18-50 (shown here) and the DL24-85 can be zoomed either in steps, using the ring around the lens barrel, or via a small W-T rocker switch around the shutter release. Having a step zoom is very handy for some situations (it’s a real time-saver in the DPReview studio, for one thing).

    The frontmost dial is a focus dial, but it is unclear whether it can be customized to perform other functions. We’d fully expect this to be the case, but Nikon has been a little ambiguous on this point (and the cameras we handled for these images were in Japanese). As soon we can, we’ll try to get clarity. 

    CP+ 2016: Hands-on with Nikon DL Compacts

    The DL18-50’s lens offers Nikon’s Nano Crystal Coating, which should help when it comes to flare resistance – an important factor with such a wide-angle lens. 

    CP+ 2016: Hands-on with Nikon DL Compacts

    Ergonomically the DL18-50 and DL24-85 recall the Nikon Coolpix A, crossed with some of Panasonic’s compact zoom cameras, like the LX100. Both feel solid and well-built and the various control points move positively and aren’t too small for comfortable use. Nikon is clearly attacking the same market with these new 4K-capable cameras as Sony is with the Cyber-shot RX100-series, and we’re very keen to see how they compare in the studio. 

    CP+ 2016: Hands-on with Nikon DL Compacts

    Unlike Sony’s Cyber-shot RX100-series, the DL18-50 and DL24-85 offer touch-sensitive rear OLED screens. And they tilt outwards, too, as well as upwards to 180 degrees for selfies. Although we’re basing our impressions on very brief use of prototype cameras, the screens seem responsive to the touch, and are certainly nice and constrasty. Which is good news because the DL18-50 and DL24-85 lack built-in viewfinders. Instead, you’ll need an optional EVF (price still TBC) which adds versatility, and of course, cost. 

    The DL24-85 will cost $ 649 and the wider DL18-50 will set you back $ 849.

    CP+ 2016: Hands-on with Nikon DL Compacts

    The largest and most expensive ($ 999) of the three new DL cameras is the DL24-500 which offers an equivalent focal length range of 24-500mm. Like the smaller DLs it offers 4K video capture, up to 60fps continuous shooting and enthusiast-focused ergonomics, but inevitably it is much larger to accommodate that longer lens.

    The lens is slower, too, offering a maximum aperture range of F2.8-5.6. That’s the price you pay for the greater versatility of the longer zoom range. 

    CP+ 2016: Hands-on with Nikon DL Compacts

    The other reason why the DL24-500 is physically larger than the DL18-50 and DL24-85 is its built-in EVF, which sits above the lens axis in classic ‘bridge’ camera style. To the left of the viewfinder hump is a small cap over the DL24-500’s microphone jack. This is an unusually prominent position for a mic jack and reflects the importance of video in the camera’s feature set. All three DL-series cameras shoot 4K, but ergonomically, the DL24-500 is definitely the better suited to filmmaking. 

    CP+ 2016: Hands-on with Nikon DL Compacts

    All three cameras offer Nikon’s ‘Dual Detect Optical VR’ vibration reduction, but this is especially useful in the DL24-500, with its longer, slower lens. We have high hopes, too for its autofocus system which is inherited from the 1-series (and shared with the DL18-50 and DL24-85) which combines 105 phase-detection and 171 contrast-detection AF points in a hybrid system that should be extremely competitive with cameras like Sony’s Cyber-shot RX10 II and the Panasonic Lumix DMC-FZ1000.

    CP+ 2016: Hands-on with Nikon DL Compacts

    Hybrid AF has been a major selling point of Nikon’s 1-series since its inception and promises fast and accurate subject tracking, certainly compared to pure contrast-detection focusing systems. All three DL-series compacts can shoot at up to 20 fps with autofocus. Impressive stuff, assuming the hit-rate is decent.

    CP+ 2016: Hands-on with Nikon DL Compacts

    The screen on the back of the DL24-500 is touch-sensitive, just like its smaller DL cousins, but fully articulating. All three cameras offer plenty of manual control including a physical exposure compensation button which spans an unusually wide +/-5EV (visible on the upper right of the camera’s top-plate in this view). 

    CP+ 2016: Hands-on with Nikon DL Compacts

    The DL24-500 offers twin control dials, one on the top-plate (to the left of the exposure compensation dial) and one on the rear, around the conventional 4-way controller. This view also shows off the large EVF housing and generous eye-cup. 

    CP+ 2016: Hands-on with Nikon DL Compacts

    So what do you think? We’re pretty impressed, especially by the DL24-85 and DL18-50, and it’s nice to see Sony getting some genuine competition in a market segment that has been dominated by RX100-series cameras. All three DL compacts have a lot to offer (the DL24-500 might finally give the Panasonic Lumix DMC-FZ1000 a run for its money in terms of autofocus performance) and we’re really keen to see how all three perform when shipping samples become available. 

    Articles: Digital Photography Review (dpreview.com)

  • SLR Magic’s Anamorphot-Cine 1.33x lenses now shipping with revised specification

    Lens manufacturer SLR Magic has announced ‘significant’ changes to the optical and mechanical specification of its Anamorphot-Cine 1.33x anamorphic lenses, which it says are now available. The lens set was first shown at IBC (the International Broadcasting Convention) at the end of last year, but the company says the latest versions have crucial differences – although they don’t say exactly what those differences are. SLR Magic says that the lenses can now be calibrated by lens technicians outside of Hong Kong. 

    The PL-mount anamorphics can be adapted to fit Canon EF, Sony E, Nikon F and Micro Four Thirds cameras, and will come in 35mm T2.4, 50mm T2.8 and 70mm T4 focal lengths. The 35mm lens covers Super 35mm, while the 50mm and 70mm are good for full frame cameras. The lenses are designed to stretch the 16:9 frame by 1.33x to create a 2.35:1 widescreen aspect ratio so that filmmakers don’t need to crop off the top and bottom of their 4:3 footage. 

    Currently prices are only available in Hong Kong dollars, so the US prices shown are straight conversions using today’s exchange rate. 

    • SLR Magic ANAMORPHOT-CINE 35mm T2.4  HK$ 46,680/US$ 6008
    • SLR Magic ANAMORPHOT-CINE 50mm T2.8  HK$ 50,550/US$ 6506
    • SLR Magic ANAMORPHOT-CINE 70mm T4     HK$ 50,550/US$ 6506

    A demonstration of the lenses’ capabilities with the Panasonic GH4 and Sony a7S can be seen in the short film ‘Feel’ above. For more information about the company visit the SLR Magic website. 

    Press release:

    Hong Kong, China (Feb 22th, 2016) – SLR Magic is proud to announce the SLR Magic ANAMORPHOT-CINE 1.33x PL lens set for filmmakers which could be adapted to EF/F/mFT/E-mount via adapter. The production version has changed significantly in both optical and mechanical specification compared to the lenses shown at IBC 2015. For absolute precision, the lenses could now be calibrated by a lens technician from abroad rather than having both the camera and lenses to be calibrated in Hong Kong.

    Please enjoy our short film, “FEEL”, taken by our volunteers with the new 1.33x SLR Magic Anamorphot-CINE lenses power driven by the Movcam Wireless Focus System on the Panasonic GH4 and Sony A7s recorded with the Atomos Ninja Assasin 4K recorder/monitor.

    The lenses are immediately available for order in Hong Kong

    Lens Type: Anamorphic lens
    Squeeze factor: 1.33x
    Objective front filter thread: ?82
    Mount: Titanium PL compatible with optional SLR Magic EF/F/mFT/E-mount
    Titanium adapter.
    Lens Coating: Multi Coated
    Close Focus: 3’6
    Weight (oz./g): 38.1/1,080
    Length (cm): 13.5
    Diameter (cm): 10
    Image Circle: S35 for 35mm T2.4 (5.5K on DRAGON), FF for 50mm T2.8 (8K on WEAPON), and 70mm T4 (8K on WEAPON)

    These lenses are available for order now. Above prices are for local pick up only.  For shipment overseas, please contact us by email to get local reseller prices.

    Selected lenses would be on demo at the BVE Expo in London, UK from October

    23-25 in the Atomos booth K30. For a demo, participants may email support@slrmagic.com in advance.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma introduces EF-630 multi-function flash

    Sigma has announced a more powerful external flash for DSLRs, the EF-630. It updates the existing EF-610 flash units by covering a 24mm to 200mm focal range (as wide as 17mm with the built-in Wide Panel), with an auto zooming function. Based on Sigma’s naming conventions it’s safe to assume the EF-630 offers a guide number of 63. It’s also able to tilt upward by 90°, left/right by 180° and downward by 7°. It offers TTL exposure control, high-speed sync and slave mode for use with other flashes. 

    No pricing or availability is given for the EF-610.

    Press release:

    Sigma Introduces Electronic Flash EF-630 Multifunctional External Flash

    Boasts TTL exposure control, high-speed sync, wireless flash functions, rear-curtain sync, auto-zoom, and wide-angle illumination coverage and more

    KANAGAWA, JAPAN — February 23, 2016 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessories manufacturer, has just announced the Sigma Electronic Flash EF-630, a multifunctional flash designed to work with current digital SLR cameras. Offering greater output of light, the EF-630 features TTL exposure control, high-speed sync, wireless flash functions, auto-zoom and bounce-flash, amongst additional features that make it ideal for many types of photography.

    “Lighting is one of the most important factors when it comes to creating a beautiful image, and can be the difference between capturing the perfect moment and missing it entirely,” comments Mark Amir-Hamzeh, president of Sigma Corporation of America. “The EF-630 has all the features advanced photographers look for in a flash and is the perfect companion to the DSLR.”

    The Sigma EF-630 flash automatically adjusts for focal lengths of 24mm to 200mm focal length, making it ideal for wide angle and super-zoomed shots alike. For ultra-wide angle shots, photographers can utilize the built-in Wide Panel to cover an angle of up to that of a 17mm lens.

    Compatible with most well-known digital SLR cameras, the EF-630 features auto TTL exposure control, as well as remote control operation through the TTL wireless flash function, where the camera lens calculates the correct exposure automatically for perfect lighting. For multi-flash setups, photographers can use the Slave Flash Function to trigger additional flashes. To achieve a softer look, photographers can bounce light off of a white wall, ceiling or reflector by tilting the EF-630’s flash head upwards by as much as 90°, or swiveling left or right by 180°. For close-up shots, the flash head can also be titled down by 7°.

    The FP Flash function of the EF-630 makes flash photography possible at shutter speeds greater than the normal sync speed, which is typically limited at shutter speeds up to 1/250 second for most cameras. The FP Flash function for high shutter speeds is necessary when setting a larger aperture to limit depth of field when shooting in daylight, as high shutter speeds are used to balance the daylight and the flashlight at any shutter speed. To capture natural motions, the Rear-curtain Sync mode allows the flash to be triggered immediately before the rear-curtain of the shutter closes, recording blurred trails behind a moving subject rather than in front.

    Additional EF-630 features:

    • Intuitive user interface: dot matrix LCD screen for improved menu visibility, D-Pad and dial settings controls, and easy one-click disengage function improve ease of use
    • Modeling flash function: check for intense reflections and shadows before capturing the shot
    • AF assist light: accurate auto-focus in low light conditions
    • Auto Power-off: flashgun automatically powers off after a period of non-operation to conserve battery life
    • Manual flash power level control: manually sets the flash power level from 1/1 to 1/128

    The new EF-630 Flash can be updated with the latest software from a workstation or laptop using the Sigma Optimization Pro software and Flash USB Dock (sold separately).

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic adds weather-resistant Lumix G Vario 12-60mm F3.5-5.6 Power OIS to lens lineup

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    With the start of CP+ 2016 just one day away, Panasonic is introducing the Lumix G Vario 12-60mm F3.5-5.6 ASPH Power O.I.S. to its family of Micro Four Thirds lenses. Featuring a splash and dustproof design, the lens is compatible with Panasonic’s Dual IS feature, currently available on the Lumix DMC-GX8. Its construction includes 11 elements in 9 groups, seven aperture blades and a high-speed stepping motor.

    The Lumix G Vario 12-60mm F3.5-5.6 ASPH will be available in May for $ 499.99.

    Press release:

    New LUMIX G VARIO 12-60mm / F3.5-5.6 ASPH. / POWER O.I.S. Lens

    New Micro Four Thirds Versatile Standard Zoom Lens

    Newark, NJ (February 24, 2016) – Panasonic is introducing a new zoom interchangeable lens, the LUMIX G VARIO 12-60mm / F3.5-5.6 ASPH. / POWER O.I.S. (35 mm camera equivalent: 24-120 mm) for the LUMIX G line of Micro Four Thirds System cameras.  Featuring a splash/dust-proof design, the new lens offers a versatile 5x zoom range of 24-120mm (35mm camera equivalent) that covers a variety of daily shooting situations from dynamic landscapes to portraits. 

    For everyone interested in a modern alternative to bulky DSLR interchangeable lenses, Panasonic LUMIX Mirrorless Micro Four Thirds lenses deliver impressive, no-compromise optical performance. The durable, all-weather LUMIX 12-60mm F3.5-5.6 Lens features the highest standards of detail and sharpness. Built for travel and great photo and video capture, it comes complete with a splash and dustproof sealed body.** And with Dual I.S. (Image Stabilization) compatibility, you’ll shoot with unprecedented hand-held stability anywhere you go. 

    **When mounted on a compatible LUMIX G Mirrorless camera

    Incorporating an inner focus drive system and a stepping motor, the new LUMIX G VARIO 12-60mm / F3.5-5.6 ASPH. / POWER O.I.S. is capable of smooth, silent operation to work with the camera’s high-speed, high-precision contrast AF system for both photo and video recording. It is also compatible with the sensor drive at max. 240 fps to take maximum advantage of cameras with high-speed AF. This stunning AF performance is able to record 4K video, where precise focusing is required.

    Seven blades give the aperture a rounded shape that produces an attractively smooth effect in out-of-focus areas when shooting at larger aperture settings. A highly reliable metal mount assures durability for active use, and uses multi-coated lens elements that minimize ghosts and flare to further enhance its shooting performance. 

    It also features 0.54x (35mm camera equiv.) magnification capability for impressive macro close-up shots.  Comprised of 11 elements in 9 groups, the lens system features three aspherical lenses and an ED (Extra-low Dispersion) lens which effectively suppresses spherical distortion or chromatic aberration to achieve stunning picture quality.

    The LUMIX G VARIO 12-60mm / F3.5-5.6 ASPH. will be available in May at www.shop.panasonic.com and valued channel partners in metallic black for $ 499.99.

    Panasonic Lumix G Vario 12-60mm F3.5-5.6 ASPH Power OIS specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size FourThirds
    Focal length 12–60 mm
    Image stabilisation Yes
    Lens mount Micro Four Thirds
    Aperture
    Maximum aperture F3.5 – F5.6
    Minimum aperture F22.0
    Aperture ring No
    Number of diaphragm blades 7
    Aperture notes Circular aperture
    Optics
    Elements 11
    Groups 9
    Special elements / coatings 3 aspherical + 1 ED elements
    Focus
    Minimum focus 0.20 m (7.87″)
    Maximum magnification 0.27×
    Autofocus Yes
    Motor type Stepper motor
    Full time manual No
    Focus method Internal
    Distance scale No
    DoF scale No
    Physical
    Weight 210 g (0.46 lb)
    Diameter 66 mm (2.6″)
    Length 71 mm (2.8″)
    Sealing Yes
    Zoom method Rotary (extending)
    Power zoom No
    Zoom lock No
    Filter thread 58.0 mm
    Hood supplied Yes
    Tripod collar No

    Articles: Digital Photography Review (dpreview.com)

  • Sigma announces sd Quattro and sd Quattro H Foveon mirrorless cameras

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    Sigma has announced two mirrorless ILCs: the Sigma sd Quattro and the sd Quattro H. Both cameras use the company’s full-depth SA lens mount as used in its SLRs, and are built around APS-C and APS-H sized sensors, respectively. The cameras share a body design with a built-in viewfinder that, while unusual, appears more ergonomically conventional than the recent DP Quattro series of large-sensor compacts.

    Both cameras feature on-sensor phase detection as part of a hybrid AF system, which should mean they work effectively with existing SA-mount lenses. The down-side is that it reduces the range of lenses that could be added via adapter.

    Both cameras use the latest, ‘Quattro’ version of Sigma’s Foveon technology, which measures different color information based on how deeply into the sensor it is able to penetrate. The Quattro design features full resolution at the top (predominantly blue-sensing) layer but then 1/4 of that resolution for the two deeper layers used to interpret information about red and green color components.

    The APS-H sensor features 25.5MP in its top layer, which the company considers equivalent to the capture of a 51 megapixel sensor using the conventional Bayer design. This 26.6 x 17.9mm sensor is around 30% larger than the more common APS-C size, but it’s currently unclear what proportion of Sigma’s ‘DC’ lenses designed for APS-C offer a large enough image circle for use with the camera.

    The APS-C version uses a phase-detection capable variant of the sensor used in the existing DP Quattros, offering 19.6MP on its top layer. Sigma says this should offer a level of detail comparable with a 39MP Bayer chip. (Foveon explained the logic of these claims when we spoke to them a few years ago).

    The cameras feature two rear screens, one of which displays the camera’s current settings. They also feature USB 3.0 interfaces. A vertical/battery grip will be available.

    Press Release:

    Sigma Announces Two New Mirrorless Cameras: Sigma sd Quattro and sd Quattro H

    Interchangeable lens APS-C and APS-H Foveon Quattro sensors in state-of-the-art camera systems

    KANAGAWA, JAPAN — February 23, 2016 — Sigma Corporation of America, a leading camera, DSLR lens, flash and accessories manufacturer, today announced the new high-performance, compact Sigma sd Quattro and Sigma sd Quattro H mirrorless camera systems with Foveon Quattro sensors. The Sigma sd Quattro features an APS-C sized sensor and the Sigma sd Quattro H touting a larger APS-H sized sensor for even greater image quality. Thanks to the mirrorless aspect of the cameras, both the sd Quattro and sd Quattro H are designed to take full advantage of all Sigma Global Vision lenses.

    “With the introduction of these two new cameras, Sigma continues its rich history of innovation. The Foveon sensor is renowned for its imaging characteristics, and the mirrorless interchangeable format offers photographers the full line of Sigma Global Vision lenses to help realize their creative visions,” stated Mark Amir-Hamzeh, President of Sigma Corporation of America. “The sharpness of detail and nuanced color tone captured by the Foveon sensors is a key component of Sigma Global Vision. The sd Quattro, and the sd Quattro H, with the newly announced Foveon Quattro APS-H sensor, will be greatly appreciated by photographers who demand the utmost in imaging purity, with the added benefit of portability for both in-studio and on-location photography.”

    Both the sd Quattro and sd Quattro H feature similar design aspects with a compact form consistent with the dp Quattro line, making them highly portable and utilizing the Foveon Quattro sensor for exceptional imaging quality and fast processing. A magnesium alloy body makes the sd Quattro and sd Quattro H durable and rugged, while a dust- and splash-proof design makes it ideal for photographers facing harsh conditions. In addition to the new body design, both cameras boast a list of useful advancements. These include a two-mode Autofocus detection that combines Phase Detection for focus speed and Contrast Detection for focus accuracy. The focus settings have also been enhanced with such modes as Movement Prediction, Face Detection, Free Movement, Focus Peaking and a variety of others. The new 2.3 megapixel viewfinder displays close to 100% of the field of view and when placed in “Auto” will toggle between the viewfinder when the user has the camera to their eye and then to the LCD when the user lowers the camera. A new “Super-Fine Detail” mode brings out the full potential of the Quattro sensor by capturing seven different exposures with one shot and merging them for exceptional dynamic range (images can be extracted individually as well). Meanwhile an updated algorithm for the Auto White Balance allows for greater accuracy, even with multiple light sources.

    While the sd Quattro and sd Quattro H are similar in physical design details, they stand apart when their Foveon sensors are compared. The sd Quattro utilizes the same sensor found in the dp Quattro line and produces image quality comparable to that of a 39 megapixel Bayer-pattern sensor on resolution testing. The stacked silicon Foveon Direct Imaging sensor captures all detail information on the top 19.6 megapixel layer along with all color information for the Blue channel, while the two five-megapixel layers below capture Red and Green color information, all without the need for a low pass filter. Merged together they create incredible image quality that is comparable to medium format files. The sd Quattro H boasts a larger APS-H sensor (26.6×17.9mm) than the sd Quattro and can produce images equivalent to that of a 51-megapixel Bayer-pattern sensor camera on resolution testing. The sensor structure is similar to that of the sd Quattro but uses a 25.5 megapixels on the top layer of the sensor that captures the detail information. Both cameras use the latest Dual TRUE III image processor and take full advantage of the Art, Contemporary and Sport line Global Vision lenses that are made for high megapixel cameras. Like all Sigma Cameras, RAW (X3F) data can processed via Sigma Photo Pro, which offers editing options, including Monochrome mode to take advantage of the incredible monochrome images the Foveon sensor captures.

    Sigma sd Quattro specifications

    Articles: Digital Photography Review (dpreview.com)

  • Nissin releases i60A flash unit with a guide number of 60m

    Flash manufacturer Nissin has announced a hotshoe flash unit that features a guide number of 60m and the company’s NAS 2.4GHz radio wireless control system. The Nissin i60A can control three groups of flashes in its role as a commander, or it can be controlled via another Nissin flash unit (only the Di700A at the moment) equipped with the NAS system or by the company’s Air 1 commander unit. Although each unit will have a TTL system dedicated to the mount it is designed for, the i60A also comes with multiple control systems built-in. This means that every flash can be used off-camera in an optically connected network of Canon, Nikon and Sony TTL flashes, no matter the mount. The i60A is equipped with 8 channels.

    The zoom head covers focal lengths of 24-200mm, and it is at the 200mm that the quoted GN60m@100 ISO has been measured. The unit has been designed to be small so that it will be attractive to owners of compact system cameras – it measures 98x73x112mm and weighs 300g without batteries. Manual control allows 1/3-stop increments from full power to 1/256th, and auto exposure compensation is available up to +/-2EV.

    The head rotates 180° and tilts directly upwards, and the unit is powered by 4AA cells, that Nissin says will provide 220 full power bursts, or via an external battery pack.

    The Nissin i60A will be available for Nikon, Canon cameras in May 2016, and Micro Four Thirds, Sony and Fujifilm cameras in the future. No pricing information has been released yet. Nissin doesn’t have any English information posted yet, but there is a Japanese press release PDF on the website.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma Mount Converter MC-11 adapts Sigma lenses to E-mount cameras, supports autofocus

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    Sigma has announced an adapter for Sony E-mount cameras, making it possible to use Sigma’s most recent lenses in Canon and Sigma mount on full-frame or APS-C E-mount bodies. The MC-11 adapter is able to use phase detection AF with adapted lenses, and makes use of both camera and lens stabilization when present. An LED display on the side of the mount provides compatibility information of attached lenses. The adapter also communicates EXIF data to the camera body, and retains profiles of compatible lenses – those included in Sigma’s Global Vision line – to optimize AF performance. 

    Sigma has not announced pricing or availability at this time.

    Press release:

    New Sigma Global Vision Lens Mount Converter Expands High-Performance Lens Options for Sony Cameras

    Brings Sigma’s Global Vision Lenses to the Sony E-Mount Camera Family

    KANAGAWA, JAPAN — February 23, 2016 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessories manufacturer, today announced the release of its new high-performance Sigma Global Vision lens converter – the Mount Converter MC 11 – for Sony E-mount, full frame and APS-C sensor cameras. With the new MC-11, Sony camera users will be able to utilize 19 Global Vision lenses in Sigma Canon Mount (EOS) and Sigma Mount (SA).

    “There are many challenges to designing high-quality mount converter and topping the list is aptly handling phase detection AF in newer cameras and this is where the Sigma MC-11 is groundbreaking in its support for the Sony E-mount systems,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “The new Sigma MC-11 mitigates complications with a purpose-built lens control data system engineered for maintaining superior AF functionality. So the growing number of Sony E-mount camera users who have been asking for more lens options, now have access to a large pool of lenses that fully embody Sigma’s signature quality and performance.” 

    The Sigma MC-11’s sleek LED display lets Sony users know if the attached Sigma lens is compatible and whether or not the MC-11 needs to be updated for that specific lens. Its internal control data system keeps detailed information on each compatible Sigma lens, automatically optimizing performance of AF drive, aperture control and other critical lens functions. The MC-11’s internal control data system also maintains continuity with key camera functions that control brightness and correct transverse chromatic aberration, distortion, and more. The complete compatibility with both Sigma lens OS and Sony in-camera OS ensures correction of camera shake and other stability issues and when used with in-camera stabilization, MC-11 allows angle shake correction in the lens. The integrated flocking helps prevent internal reflections and reduction in lens performance. In addition, the MC-11 retains important EXIF data ensuring users can analyze every detail of their lens setting. 

    The Sigma MC-11 converter can be updated with the latest compatible lens information from a workstation or laptop using the Sigma Optimization Pro software and Sigma USB Dock (sold separately).

    For more information on the Sigma MC-11 converter please visit www.sigmaphoto.com/mount-converter-mc-11

    Articles: Digital Photography Review (dpreview.com)