2016 « 360Photography

RSS

Posts Tagged ‘2016’

CP+ 2016: Nissin gets serious with radio-triggered flash solutions

28 Feb

CP+ 2016: Nissin Stand Report

Flash manufacturer Nissin offers some compelling alternatives to on-brand flashes, and they’ve recently updated their lineup with the announcement of the i60A, pictured in the middle here. The i60A features a Guide No. of 60 at at 200mm (ISO 100), which is more powerful than the company’s flagship Di700A, which has a GN of 54 under the same conditions. Impressive, given the flash’s overall smaller size. It also features High Speed Sync (HSS).

Possibly the most compelling feature of the i60A (and the flagship Di700A)? Integrated 2.4GHz radio wireless control in conjunction with the Air 1 commander and Di700A flash. Off-camera event flash photography’s best friend. They’re ergonomically fantastic as well. Read on as we dig a little deeper into these products.

CP+ 2016: Nissin Stand Report

The i60A is significantly smaller than the Di700A (illustrated in grey here) – Nissin’s flagship and the flash that introduced the 2.4GHz radio wireless control system. At only 98mm tall, the i60A is significantly smaller than the 140mm tall Di700A. It’s lighter too: 300g (without batteries) vs. the Di700A’s 380g. And yet it provides brighter flash output. Nice.

CP+ 2016: Nissin Stand Report

The i60A is Nissin’s second flash to work with the company’s 2.4 GHz radio wireless control system, meaning you can trigger it off-camera with the Air 1 commander (on right) or Di700A flash on-camera. It can even act as a radio trigger itself in commander mode. Radio triggering can be essential for fast-paced, unpredictable scenarios, like at a wedding reception or dance floor where objects might momentarily block off-camera flashes triggered optically or via infrared.

While Canon has had their own solution in the 600EX-RT flash and ST-E3-RT emitter, Nikon has only just recently announced their radio solution, and Sony has no such solution at all. Given the intuitive on-board control of manual power or auto TTL flash exposure bias on both the Air 1 commander and any flash units, the Nissin solution is quite attractive, even mandatory if you’re looking for radio-triggered flash on a Sony system.

CP+ 2016: Nissin Stand Report

So you’ve seen the Air R in a couple of photos now and are probably wondering what it is. It’s a receiver for Nissin’s 2.4GHz radio wireless control system, meaning you can attach it to flashes without radio control to have them join Nissin’s system. There are versions for Nissin, Canon, and Nikon flashes.

CP+ 2016: Nissin Stand Report

The Nissin i60A has a tiltable, rotatable head, capable of rotating up and down 90°, and left and right 180° in either direction. This is great for creating a softer bounce flash effect, either on or off-camera. The flash is powered by 4 AA batteries, which should provide 220 full power bursts.

Every version of the i60A helpfully comes with the ability to act as a Canon, Nikon, or Sony radio slave, triggered by an Air 1 commander. That means that you can have a Canon version of the Air 1, mounted to a Canon body, fire a Nikon version of the i60A off-camera. Cool.

CP+ 2016: Nissin Stand Report

Pictured here is the i60A in comparison to the Di700A. As we’ve said before, the i60A is significantly smaller. The downside? The i60A is missing the red AF assist beam. It does, however, have a small LED light that can be used for AF assist, though its far more annoying to subjects than a red assist beam.

Speaking of AF assist, it’s important to note that the Sony versions of these flashes can only fire AF assist beams on Sony Alpha SLT cameras, not Sony E-mount cameras. That means the assist beams are useless on the popular a7 and a6000-series cameras. We confirmed with Nissin that this is due to Sony E-mount cameras failing to send a signal over the hot-shoe connection when the shutter button is half-depressed. That’s a shame, because pros need focus ability in extremely low light conditions – the dance floor of a wedding reception, for example. I told Nissin we’d stress this with Sony, and their response was ‘please, please do’.

Sony: your move.

CP+ 2016: Nissin Stand Report

We mentioned favorable ergonomics earlier on, and here’s why. Take a look at the user interface of the Air 1 commander. You’ve got visual indicators for manual power and flash exposure compensation (TTL), for each group. It’s simple to use the dial to bias these. No menu digging. The Di700A has a similar display, though the i60A’s truncated display means it can’t show quite as much information.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

CP+ 2016: A look inside the G Master lenses at the Sony booth

27 Feb

CP+ 2016: Sony stand report and G Master action

Earlier this year, Sony announced a trio of new lenses dubbed G Master, which include the Sony FE 24-70 F2.8 GM, the Sony FE 70-200 F2.8 GM and the Sony FE 85mm F1.4 GM. These three lenses helped to fill noticeable gaps near the higher end of Sony’s lens lineup.

And, no, we didn’t Photoshop in that gap in the lens lineup above just to make a point.

CP+ 2016: Sony stand report and G Master action

The G Master lenses are chock-full of new and advanced technologies meant to maximize image quality, autofocus speed and accuracy, durability, and bokeh. Let’s take a look inside…

CP+ 2016: Sony stand report and G Master action

Here’s the 24-70mm F2.8 GM lens cut in half. This lens comprises 18 elements in 13 groups, and features three aspherical elements, including an extreme aspherical (XA) element – more on that later. An ED (extra low dispersion) and Super ED glass element help minimize chromatic aberration while maintaining high resolution and bokeh characteristics. We believe it – our initial samples show very well-controlled chromatic aberration, and bordering on eye-popping sharpness even on a 42MP sensor, when shooting this lens wide open.

A 9-bladed aperture helps confer a circular shape to out-of-focus highlights, but it’s the autofocus system in this lens that most excites us. A Direct Drive SSM (super sonic wave motor) positions a relatively small group of focus elements accurately and quickly, and when we say quickly we mean with nearly unprecedented speed for this type of lens. We’ve become fans of Direct Drive SSM for AF ever since we saw the speed it confers in the FE 35mm F1.4. Focus, including continuous tracking, is nearly instantaneous on this 24-70 GM, which is fairly unexpected considering its counterparts in the DSLR arena. Focus is also both smooth and quiet, making it a great lens for video as well as stills.

CP+ 2016: Sony stand report and G Master action

The new XA (extreme aspherical) element is claimed to reduce aberration and deliver high resolution throughout the entire zoom and aperture range, across the entire frame. Sony claims to have achieved this via extremely high surface precision, maintained to within 0.01 micron tolerances. This should help reduce imperfections that can lead to onion-ring bokeh, typically an issue with aspherical lenses.

And speaking of high precision, Sony claims to iterate their internal development of optical design by looking at actual lens MTF performance at 50 lines/mm. That doesn’t mean the lens only resolves to 50 lines/mm, it means that Sony’s threshold for acceptable performance in designing these lenses is quite high. Judging from the sharpness wide open on an a7R II, we’re inclined to believe it’s working for Sony.

CP+ 2016: Sony stand report and G Master action

Sony has also recently announced the FE 85mm F1.4 GM, shown here cut in half. This lens comprises 11 elements in 8 groups, and features a new XA (extreme aspherical) element as well as three ED (extra low dispersion) elements that help optimize both resolution and smooth transitions to out-of-focus areas. It’s also got a ‘Nano’ anti-reflective coating on its front element to reduce flare and ghosting, particularly useful for maintaining contrast in backlit portraits.

The 85mm GM lens utilizes a ring drive SSM (super sonic wave motor) to drive the lens’ large, heavy focus group. In other words, this lens is much like some of its DSLR counterparts in terms in focusing speed – very fast, but not quite as fast – in our initial impressions – as Sony’s own Direct Drive SSM combined with a relatively small focusing group in the 24-70mm F2.8 GM. Two position sensors support accurate positioning of the focus elements, which should ensure accuracy of focus.

CP+ 2016: Sony stand report and G Master action

Particularly nice is the 11-blade circular aperture in the 85mm F1.4 (and 70-200mm F2.8) GM lenses. The more blades you have, the more circular the aperture remains even when stopped down significantly – especially with the curved blades typical of almost all lenses today. Most modern lenses have between 7 and 9 blades these days, with 9 blades being reserved more pro-level lenses. 11 takes it a step further and, indeed, the opening retains a circular, less polygonal shape as you stop down (here it is in action). This should ensure circular out-of-focus highlights and increased quality of bokeh, even at smaller apertures.

And why go from 9 to 11 blades, skipping 10? Odd numbers of aperture blades are generally better for their more favorable sunstar rendition, creating sunbursts with twice the number of rays as aperture blades when stopped down. Even-numbered designs only create sunbursts with as many rays as aperture blades, so while a 10-blade aperture would produce 10-ray stars, an 11-blade aperture would produce 22-blade stars. Of course, longer focal lengths and circular aperture designs are less prone to creating sunstars at all – and we have no idea if this was the actual thinking behind the choice – but it’s still nice to see the general trend toward odd numbers of aperture blades.

CP+ 2016: Sony stand report and G Master action

Pictured here is the new FE 70-200mm F2.8 GM OSS telephoto zoom lens Sony recently announced, cut in half of course. This lens, like the 24-70mm GM lens, features XA, Super ED, and ED glass elements to help achieve high resolution and desirable bokeh characteristics. It’s got 23 elements in 18 groups. A ‘Nano’ anti-reflective coating ensures reduced flare and ghosting. An additional fluorine coating to the front of the lens help keep it clean, and the lens is dust and moisture resistant.

OSS (Optical Steady Shot) is built into the lens, despite the availability of IBIS in a7-series cameras, because for longer focal lengths, it’s beneficial to do a certain amount of the stabilization in-lens, because of how much the sensor would have to move to compensate for even slight angular displacements. The two systems – OSS and IBIS – theoretically work together to provide even more effective stabilization than any one method might provide.

CP+ 2016: Sony stand report and G Master action

The autofocus system on the FE 70-200mm GM OSS is quite intriguing: it’s a floating focus system, which sees its debut in an ? lens. This floating system design contributes to its impressive minimum focusing distance of 0.96m, and also helps control aberrations that might otherwise be problematic when focusing at close distances.

Pictured on the left is the more traditional ring-drive SSM motor that’s required to drive the large, heavy glass elements typical of this type of lens. The double linear motor of this system, pictured on the right, allows for effective ‘wobbling’ actuation (typically used in contrast-only AF), which is useful when shooting video. The entire focusing mechanism is also very quiet – and smooth – which ensures AF performance is optimized for both stills and video shooting.

The 70-200mm F2.8 GM OSS lens also functions with Sony’s newly announced 1.4x and 2x teleconverters, which may somewhat make up for the lack of longer telephoto lenses (for the time being anyway).

CP+ 2016: Sony stand report and G Master action

Lifting our heads back up from the tech demos and turning our attention to other things (wait, where’d Rishi go?), we see that in typical trade-show form, Sony’s provided some subject matter for eager attendees to test the latest tech. But if you were to show up to CP+ hoping to capture some model mayhem using the new GM lenses, you’d have to make do with the 85mm F1.4 GM, the only new GM lens available in front of this display.

And don’t worry, if you’re already missing the lens-cut-in-half thing, you can get your fix when our Editor Barney returns with many more things cut in half later this week. Like nicely packed, and then cut in half (naturally) sandwiches.

CP+ 2016: Sony stand report and G Master action

At first glance, the 85mm F1.4 GM looks a little unwieldy on an a7-series camera, but in hand, the pair balance remarkably well. The lens has a pleasingly solid heft to it without feeling too front-heavy. At 820g, it’s significantly heavier than, say, Nikon’s counterpart (595g), but our initial impressions are that the sharpness wide open – even off-center – and lack of chromatic aberration might make the weight more than worth it.

CP+ 2016: Sony stand report and G Master action

Beyond the price of a CP+ admission ticket, there’s no charge to try out the new 85mm F1.4 GM – but to get one of your very own, you’ll need $ 1800 when it goes on sale in March. Also of note for video shooters is the ability to de-click the aperture dial for smoother operation.

CP+ 2016: Sony stand report and G Master action

Although you’re a little ways away from the real models, you can try out the FE 24-70mm F2.8 GM on some beleaguered Sony reps behind the counter. And though it appears a bit hefty on the smaller a7-series bodies, it balances well – particularly if you have a vertical grip attached. At 886g, it’s not unreasonably heavy, and the extra heft may be well worth it anyway – our preliminary impressions are that this is the sharpest 24-70mm zoom (particularly wide open) we’ve ever seen.

It will be available in March for $ 2200.

CP+ 2016: Sony stand report and G Master action

Last up is the FE 70-200mm F2.8 GM. As you can probably tell from this image, the lens itself isn’t overly large, but it’s definitely got some weight to it. At 1480g, it’s around the weight of Canon’s equivalent lens, which means you’ll really want a grip on an a7-series camera to balance the weight well. The FE 70-200mm F2.8 GM OSS will be available in March, and the price is still TBD.

Overall, the G Master lenses appear to be solid additions to Sony’s FE lens lineup, potentially addressing the need for professional-level lenses for the system. We’ve shot a few shots with these lenses on a 42MP a7R II, and it’s clear from the sharpness and chromatic aberration results, as well as AF speeds, that Sony is clearly targeting professionals, and high-end enthusiasts, with these lenses. And we expect them to compare favorably against even the best counterparts offered by the stalwarts in the industry. We’ll reserve judgement until we’ve had time to do more rigorous, side-by-side testing, but for the time being, it’s safe to say we’re very impressed.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Video: Hands-on with Sony’s G Master lenses and the a6300 at CP+ 2016

27 Feb

There are lots of new products vying for attention at CP+ 2016, including Sony’s a6300 and new GM series lenses for its full-frame mirrorless cameras. And they are getting plenty of attention from show attendees, especially those eager to try out the FE 85mm F1.4 GM’s portrait capabilities. We took another look at the a6300 and the GM lenses on display at the buzzing Sony booth in Yokohama.

See all of our CP+ 2016 coverage

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

CP+ 2016: Canon shows off new EOS-1D X Mark II, EOS 80D and G7 X Mark II

26 Feb

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

As usual at the CP+ show in Yokohama, one of the longest lines can be found Canon’s booth. This year, Canon’s EOS 80D and EOS-1D X Mark II were in huge demand from both press and public attendees alike, and we fought our way through the crowd to get hands on with both new models – and the surprisingly nice PowerShot G7 X Mark II.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

First up is the Canon EOS 80D. The 80D features a 24MP APS-C CMOS sensor, 45-point all cross-type autofocus system, and the company’s DIGIC 6 processor. Cosmetically similar to the popular 70D, the new model offers a number of significant updates.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

The 80D will be familiar to users of the 70D of course, but operationally it shares a lot of features from much earlier cameras in Canon’s EOS lineup, going right back to the original D30 of 2000. It’s easy to dismiss this kind of homogeneity as conservative – even unimaginative, but there’s a reason that DSLRs in 2016 still look and function much like DSLRs from the early 2000s. It works.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

When using live view or recording video users can take advantage of the 80D’s improved Dual Pixel CMOS AF system, which provides phase-detection autofocus with the mirror locked up in Live View. This particular iteration is Canon’s first attempt at Servo AF using Dual Pixel technology – and it works very nicely in our initial testing with moving subjects. So nicely, in fact, that we can’t to see it extended to all Canon DSLRs… and maybe even, well, that’s a lot of wishful thinking.

The 3″ rear LCD is touch sensitive and fully articulating, which is handy for shooting from low and high angles, and also for video. The 80D can record 1080/60p video and offers sockets for both a microphone and headphones. Wi-Fi is also built in, with support for NFC.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

Although it lacks 4K, the 80D is a capable HD video camera. With the addition of the PZ-E1 Power Zoom Adapter (currently only compatible with the new 18-135mm kit zoom) and DM-E1 shotgun microphone it’s a powerful and surprisingly ergonomic package. We suspect that most serious Canon videographers will look towards the Cinema EOS line but students and beginner filmmakers will appreciate the 80D’s ease of use, and potentially its excellent autofocus – with no hunting – in video.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

One camera that is definitely of interest to professionals is Canon’s new flagship stills model the EOS-1D X Mark II. The 1D X Mark II builds on the basic concept behind the 1D X, but offers increased resolution (from 16 to 20MP) increased speed (14fps in live view mode, 12fps in conventional DSLR mode) and 4K video capture.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

The EOS-1D X Mark II’s autofocus system has also been upgraded. The 61-point AF array covers a greater area, and these AF points work in concert with a 360,000 pixel metering sensor which should, in theory, mean better tracking of moving subjects.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

Ergonomically, the EOS-1D X Mark II is – like the 80D – very similar to its predecessors. Professional users are even less accepting of change than enthusiasts because with years of muscle memory built up, they need key controls to stay more or less in the same place from model to model. As such, the EOS-1D X Mark II looks and operates a lot like its predecessor, and indeed some key controls have barely moved since the original film EOS-1.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

The EOS-1D X Mark II’s battery (which fits horizontally inside the base of the camera) should be good for more than 1200 images in normal use – a major differentiator of professional DSLRs compared to lower-end models (and any current mirrorless camera). Needless to say, the EOS-1D X Mark II is fully weather-sealed and feels like it’s been milled from a solid lump of something very solid, very expensive and very heavy.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

Who would have thought that after 16 years, professional Canon DSLRs would still be using CompactFlash cards? But here we are in 2016, and the same media that fit inside the original EOS-1D can still be used in the EOS-1D X Mark II. New in the current flagship though is a second slot for cosmetically similar (but physically incompatible) C-Fast cards. C-Fast cards are capable of greater data throughput, which will help if you’re one of those people that likes to shoot extended bursts of 170 Raw files at 14fps.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

If you are one of those people, you should pay attention ti the warning inside the EOS-1D X Mark II’s card slot. Don’t go burning your fingers after shooting. It gives a new meaning to the term ‘blazingly fast’…

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

Ethernet? Why yes. Although the EOS-1D X Mark II features built-in Wi-Fi, a 330Mbps wired connection is still the best option for absolute speed when shooting intensely at (say) the Olympics. It’s no coincidence that Canon (like Nikon) likes to release new professional cameras in Olympic years.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

At the other end of Canon’s camera range is the 20MP PowerShot G7 X Mark II. We really liked the original G7 X for everyday ‘carry everywhere’ shooting but it had some limitations. The Mark II has not been significantly changed when it comes to ergonomics or core features (inside you’ll find the same excellent 20MP 1-inch sensor and 24-100mm equivalent lens), but Canon has made some improvements.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

One of those improvements is a front dial that can be switched from clicking to non-clicking operation, and a subtle front grip, in place of the smooth body of the original G7 X.

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

A new Digic 7 processor brings very welcome performance improvements, especially in Raw mode. Raw capture is now possible at 8fps and while standing at Canon’s booth we shot for more than 20 frames before the camera that we used started to slow. Finally, a Canon PowerShot G-series compact that is genuinely usable in Raw mode…

CP+ 2016: Canon shows off new DSLRs and G7 X Mark II

The G7 X Mark II’s rear screen is a multi-angle 3.0-inch capacitive model with 1.04 million dots, capable of tilting up to 180° upwards (for selfies) and 45° down (for other things). The G7 X Mark II will be available in May for $ 699.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

CP+ 2016: Hands-on with new Panasonic lenses and ZS100

26 Feb

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

At this year’s CP+ show in Yokohama, Japan, Panasonic unveiled the Lumix G Vario 12-60mm F3.5-5.6 ASPH Power O.I.S. lens. Featuring a splash and dustproof design, the 24-120mm equivalent zoom is designed to be a lightweight, versatile companion to Panasonic’s Micro Four Thirds cameras.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

The new 12-60mm is smaller and much lighter than we expected from the specification. Although it is weather-sealed and boasts 11 elements in 9 groups, it weighs a mere 210 g (0.46 lb).

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

The lens is constructed from polycarbonate, but the mount is metal. It’s hard to see in this image but there’s a rubber gasket around the lens throat which prevents dust and moisture from getting into the camera.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

This is an O.I.S lens, which means that it is optically stabilized. In combination with the in-body stabilization of the Lumix DMC-GX8 this means that it supports Panasonic’s Dual IS feature, which we’ve found offers very good performance across a wide range of focal lengths, but especially at long telephoto settings, where in-body stabilization alone can sometimes struggle.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

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

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

Announced before the show, CP+ was the first chance that most Panasonic users have had to play with the new Leica DG Vario-Elmar 100-400mm F4-6.3 telezoom. We got the chance to shoot with one recently and it certainly impressed us.

Covering a focal length range equivalent to 200-800mm when attached to a Micro Four Thirds body this powerful zoom appropriately features ‘Power’ optical image stabilization to keep things steady. It has has one aspherical, one UED, and two ‘regular’ ED elements, as well as a nine-bladed circular aperture. The minimum focus distance is 1.3m, with a magnification of 0.25x.

The Leica DG Vario-Elmar 100-400 F4-6.3 will be available in early April at a price of $ 1799.99.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

Also annouced before the show, here’s the new Panasonic Lumix DMC-ZS100 (known as the TZ100 in most regions outside of North America). It’s a compact travel zoom of the kind that Panasonic has historically been particularly good at, but unusually it features a 20 megapixel, 1″-type sensor.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

That 20MP sensor is paired with a 25-250mm equivalent F2.8-5.9 Leica DC lens which incorporates the company’s snappy Depth from Defocus autofocus technology. It offers a 3″ touchscreen LCD as well as a 1.04M-dot electronic viewfinder, Raw support, 10 fps continuous shooting (5 fps with AF) and Wi-Fi.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

On the video side of things the ZS-100 can record 4K/UHD video at 30p and 24p as well as 1080/60p clips. Panasonic’s unique 4K photo mode lets you grab high quality 8MP stills from 4K video.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

A built-in EVF, 25-250mm equivalent lens and plenty of manual controls make the ZS-100 a very attractive camera for traveling, in theory. We’re expecting a reviewable camera very soon and we’ll be posting sample images as fast as we can.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

26 Feb

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Tamron is showing off two brand new lenses at CP+ this year – the SP 85mm F1.8 Di VC USD (shown here) and SP 90mm F2.8 Di VC USD 1:1 Macro. The ‘SP’ in the model names stands for ‘Super Performance’ – a designation that Tamron reserves for its high-end optics. We headed to the Tamron booth today and got our hands on the new lenses, and Tamron’s upcoming TAP-in Console.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

First up is the SP 85mm F1.8 Di VC USD, which slots right alongside the previously-announced 35mm and 45mm F1.8 primes that Tamron released last year. Like those lenses it is relatively compact, but feels extremely solid and has a nice weight to it, balancing well on a Canon EOS 5D Mark III (provided by Tamron to get a feel for the how the lens handles).

It’s worth noting the Nikon version of this lens uses an electromagnetic aperture control, rather than the traditional aperture lever.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

The 85mm features LD (low dispersion) and XLD (extra low dispersion) elements to reduce flare and ghosting and a fluorine coating on the front element to keep moisture and fingerprints at bay. Nine aperture blades ensure circular out-of-focus highlights. MTF (theoretical) curves suggest outstanding resolution and contrast. The VC system offers up to 3.5 stops of shake reduction (tested to CIPA standards) and its ring-type ultrasonic motor provides fast and near-silent autofocus when we tested this pre-production sample.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

It’s hard to see in this photo, but the lens mount of the new 85mm and 90mm SP primes is protected by a rubber gasket, to protect against dust and moisture incursion into the lens throat. Expected to be available in April in Canon and Nikon mount versions, a Sony A-mount version will follow later. Pricing is still TBC.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Next up is the SP 90mm F2.8 Di VC USD 1:1 Macro, which offers true macro 1:1 reproduction at a focusing distance of 13.9cm/5.5in. A 9-blade aperture ensures circular out-of-focus highlights. Tamron has been making a 90mm macro lens of some or other kind for a very very long time, and all of them have been extremely well-regarded. Our first impressions of the new 90mm are that in terms of handling, this might be the best yet.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Like the other recently-announced SP primes, build quality is very high, and just in terms of aesthetics, the new 90mm looks great. It seems that Tamron has been looking over its shoulder at Sigma’s ‘Art’ range and this is no bad thing. Like those lenses, all of Tamron’s new SP primes look more expensive than they are. The 90mm macro will be available next month for a very reasonable $ 649.

Again, we’ve only handled a pre-production sample but just from first impressions we’re excited to get it into our studio as soon as possible.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Tamron’s new ‘TAP-in Console’ is also distinctly Sigma-esque. (An early engineering sample is shown here). Available for Nikon and Canon-mount versions of the SP 85mm F1.8, SP 90mm F2.8 Macro, SP 45mm F1.8, SP 35mm F1.8 lenses (the older 35mm and 45mm primes will need updating at a Tamron service center) the TAP-in Console will allow users to calibrate their lenses for precise AF, at either end of a zoom and at three different subject distance ranges (near, mid, far), as well as adjust VC performance parameters.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Projected to be available next month, Tamron has not yet announced pricing information for the TAP-in console but after seeing coming to appreciate the value of Sigma’s dock, we’re very pleased to see this kind of solution being introduced by another manufacturer. Canon and Nikon take note…

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Video: Hands-on with the Nikon DL trio at CP+ 2016 in Japan

26 Feb

It’s all well and good to imagine what Nikon’s trio of 1″-type sensor compacts might be like based on spec, but there’s nothing like getting them in your hands. See what the buzz is all about – straight from the show floor of CP+ in Yokohama, Japan.

See all of our coverage from CP+ 2016

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

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

25 Feb

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)

Comments Off

Posted in Uncategorized

CP+ 2016: Hands-on with Nikon DL Compacts

25 Feb

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)

Comments Off

Posted in Uncategorized

Top Photography Accessories to Have in 2016

26 Jan

Photography is an expensive hobby, without a doubt. Some lenses or speedlights may costs even more than a camera body itself. After buying a DSLR camera you may need a few accessories to improve your workflow, keep your gear safe and secure. Thus, we decided to put together 30 extremely valuable photography accessories you may need while shooting. This collection Continue Reading

The post Top Photography Accessories to Have in 2016 appeared first on Photodoto.

Photodoto

Comments Off

Posted in Photography