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Photokina 2018: Hands-on with Tokina’s Opera 50mm F1.4 premium full-frame lens

30 Sep

Hands-on with the Tokina Opera 50mm F1.4

We first saw a prototype of Tokina’s new 50mm F1.4 Opera lens at the CP+ show in Japan earlier this year. After waiting all summer, we finally gotten hands-on time with a working model at this year’s Photokina in Germany. The Opera series is Tokina’s high-end lens lineup – the equivalent to Sigma’s Art line – and the 50mm F1.4 is the first lens in the series to come into production.

Available in both Nikon and Canon full-frame DSLR mount, the lens is specifically meant to be paired with high-resolution cameras like the Nikon D850 and Canon EOS 5DS R. Set to ship around the end of October, it is priced at $ 950.

Hands-on with the Tokina Opera 50mm F1.4

The build quality of this Opera lens is superb. Weighing 33.5oz / 950g it’s about 4.8oz / 135g heavier than the Sigma 50mm F1.4 Art, but handles well on a Canon EOS 5D Mark IV. It doesn’t feel front heavy.

The large rubberized focus ring matches the directional turn of the mount it’s meant for – turning the ring to the right achieves minimum focus on a Canon and infinity on a Nikon. And the ring continues to turn beyond its minimum and infinity point.

Hands-on with the Tokina Opera 50mm F1.4

The Opera 50mm F1.4 is made of 15 elements arranged in 9 groups. 3 of those elements are super low dispersion elements to compact chromatic aberration – there’s also one aspherical element in the rear focus group. To deal with flaring, the lens is coated with Tokina’s Extremely Low Reflection coating. The front element has a 72mm filter size, smaller than the 77mm filter size of the Sigma’s front element.

Minimum focus distance for this lens is 0.4m / 1.3ft, the same as the Sigma.

Hands-on with the Tokina Opera 50mm F1.4

Autofocus is achieved using an ultrasonic ring-shaped AF motor which is very quiet in operation. There’s also a manual focus decouple switch on the side of the lens barrel.

The lens has 9 rounded aperture blades which we hope will result in very nice bokeh. And this is the first Tokina lens ever to include an electronic diaphragm (specifically for the Nikon version).

Hands-on with the Tokina Opera 50mm F1.4

There are a total of 8 weather sealing points in the construction of the Opera, which should keep water and grime out of the internal construction. There is also a rubber gasket around the lens mount to keep nastiness out of your camera body.

Hands-on with the Tokina Opera 50mm F1.4

Overall we’re excited to get Tokina’s first Opera series lens in and start shooting with it. It’s priced exactly the same as the Sigma Art version and seems to be built to a similar level of physical and optical excellence. Seeing as Sigma’s version is one of our favorite 50mm F1.4s out there, we have high hopes for the Tokina Opera 50mm F1.4. Stay tuned for a sample gallery.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss announces ZX1 full-frame compact with fixed 35mm F2 lens

28 Sep

The Zeiss ZX1 is based on the Android operating system and has been designed to be able to run Adobe Photoshop Lightroom CC
Image: Zeiss

Zeiss has just announced the ZX1, the company’s first-ever digital camera. It comes with a 37.4MP full-frame image sensor, fixed 35mm Distagon F2 lens and a huge 4.3″ touchscreen with a resolution of 1280×720 pixels to augment its physical controls. Zeiss has also teamed up with Adobe to offer full Adobe Photoshop Lightroom CC capability in the camera itself. It’s designed to allow you to shoot, edit and share on the fly.

The ZX1 offers 512GB of external memory and Wi-Fi, Bluetooth and USB-C connectivity

Zeiss says both the 37.4MP sensor and 35mm F2 lens were developed in-house and were designed from the outset to be matched with one another, not unlike Leica’s Q and Sony’s RX1 series. Unlike the Leica, however, the ZX1 does not come with any form of image stabilization. The lens offers a minimum focus distance of 30cm (11.8″) and the optical formula comes in at 8 elements in 5 groups.

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While the ZX1 does not have a memory card slot, it does have 512GB of internal memory, which the company claims is enough to store approximately 6,800 Raw files in DNG format (or up to 50,000 JPEG files). Zeiss’ ZX1 website does claim that you can connect an external USB drive to the camera to offload images. The camera offers Wi-Fi, Bluetooth and USB-C connectivity. The company will also offer over-the-air software updates.

The ZX1 comes with an electronic viewfinder using an OLED panel at full HD (1920×1080) resolution and a magnification of 0.74x. There’s a flash hot-shoe, but no flash is built into the camera body. The ZX1 offers single and continuous autofocus, though we don’t yet know if continuous focus is allowed at the maximum burst speed of 3fps. Exposure is taken care of courtesy a leaf shutter in the lens.

The ZX1 is designed to allow you to shoot, edit and share on the fly.

Since we live in 2018 and 4K is everywhere, it’s no surprise that the ZX1 is capable of capturing UHD 4K at up to 30fps, and Full HD video at up to 60fps.

The ZX1 appears light on controls, but the large touchscreen – with an unusual curved design – will help users take more control over their photographs, as well as the editing process.

Image: Zeiss

There’s no word on pricing, but the ZX1 will be available in ‘early 2019.’ Stay tuned for more updates as we get them.

ZEISS ZX1: The Camera Concept for the Creative Flow in Photography

First full-frame camera from ZEISS with first-class image quality and the familiar, intuitive image editing and connectivity of a smartphone.

OBERKOCHEN/Germany, 2018-09-27.

ZEISS ZX1 – That is the name of the newly developed mirrorless full-frame camera from ZEISS that was presented today in Cologne, Germany. Thanks to the ZEISS lens and a sensor developed in-house at ZEISS, the camera delivers first-class image quality combined with an operational concept and user experience that make the photographer’s jobs-to-be-done as intuitive as on a smartphone.

The ZEISS camera concept is just the first step to opening up a new world of possibilities for ambitious photographers – from taking the shot to editing the image and sharing it on the web.

SHOOT. EDIT. SHARE. – Harmonized hardware, software and optics for a seamless creative process

SHOOT: the ZEISS ZX1 features a newly designed, integrated ZEISS Distagon 35 mm f/2 T* lens with autofocus that has been perfectly matched to the 37.4 megapixel full-frame sensor developed in-house at ZEISS. The interplay between the lens and sensor ensures first-class picture quality with that typical ZEISS look.

EDIT: The ZEISS ZX1 enables photographers to professionally process RAW images directly on the camera thanks to fully integrated Adobe Photoshop Lightroom CC. Moreover, the ZEISS ZX1’s unique user interface supports the user’s particular workflow without any interruption – providing direct access to the most frequently used functions via a 4.3″ multi-touch display.

SHARE: when the networked full-frame camera is connected, the user can upload selected images directly to the internet – without the intermediate transfer to memory cards or other external devices.

512 GB of internal memory provide sufficient space for approximately 6,800 RAW files (DNG) or over 50,000 JPGs – more than enough to handle photos, even during a longer trip, and giving the photographer the chance to let their creativity flow. Versatile connectivity options such as Wi-Fi, Bluetooth and USB-C ensure that various peripherals can be connected. Over-the-air software updates keep the camera up to date without requiring a computer connection.

Designed with a passion for detail and a focus on the essentials

The design of the ZEISS ZX1 is characterized by its iconic shape with carefully crafted details. The overall form and reduction to just those elements that are absolutely necessary lay the foundation for an ergonomic camera and ensure easy handling. The symbiosis of hardware and software is exemplified by the newly defined user interface that utilizes the 4.3″ multi-touch display. The slightly bent screen separates the live view from the control elements, making camera operation comfortable and straightforward.

“We know that we exploring new ways and initially addressing a special target group with the ZEISS ZX1. With our concept we are focusing on ambitious, professional creatives who want to produce their photographic experiences quickly and efficiently, and inspire as many people on the Internet as possible. This requires a streamlined workflow in addition to high-end features. This is exactly what the concept of the ZEISS ZX1 offers,” explains Jörg Schmitz, Head of the Consumer Products business group at ZEISS.

ZEISS ZX1 available from early 2019

The ZEISS ZX1 will be available at selected dealers in early 2019. ZEISS will announce the recommended retail price at the start of the official market launch. Starting now, anyone interested in receiving information on exact availability can register at www.zeiss.com/zx1.

Articles: Digital Photography Review (dpreview.com)

 
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Canikon full-frame mirrorless: What we expected, what we got and where we go from here

19 Sep

It took them a while but Canon and Nikon finally entered the full-frame mirrorless market this summer with the launch of two brand-new lens mounts. Canon’s RF mount is the company’s first 35mm format lens mount since 1987, and Nikon’s new Z mount replaces the almost 60 year-old F-mount, as the company’s main standard going forward.

Including Leica’s SL line (but not its legacy M mount), this makes four full-frame mirrorless systems currently on the market. Of the legacy DSLR makers, Ricoh is now the only company not to offer a mirrorless solution, while Fujifilm, Olympus and Panasonic continue to bypass full-frame, developing their larger (Fujifilm GFX) and smaller-format (APS-C and Four Thirds) mirrorless platforms in favor of developing new mount standards.

Kenji Tanaka of Sony nailed it when he predicted that both Canon and Nikon would enter the full-frame mirrorless market within a year

Back in spring, fresh from the CP+ tradeshow in Japan, I went back through the interviews that we conducted in Yokohama, looking for additional insights and common threads that might indicate where the industry as a whole was heading. One consistent message from almost all of the executives that we spoke to was that more full-frame mirrorless systems were coming, and soon. Kenji Tanaka of Sony nailed it when he predicted that both Canon and Nikon would enter the full-frame mirrorless market within a year. In fact, it would be less than six months from that conversation that the RF and Z mounts were announced.

Read our roundup of executive interviews from CP+ 2018

It’s been obvious for some time that beyond a certain point, mirrors and prisms would become barriers to technical innovation in digital cameras. The question was not if but when that point would be reached. Mr Tanaka again: “If cameras are going to develop, […] manufacturers are going to have to develop mirrorless technologies”. And this makes sense, as sensor technologies are developing far faster than the outdated technologies behind secondary AF and metering sensors or mechanical shutters.

Over the past few years we’ve seen the messaging around mirrorless change from claims of a size and weight advantage compared to DSLRs (which was always a bit of a stretch, once wide-aperture lenses are introduced into the equation) to a more technical argument, based around the inherent benefits of getting rid of that pesky mirror – and that even peskier prism. The four big ones are, in no particular order: more useful viewfinders, faster maximum frame-rates, potential for more advanced (and more accurate) autofocus with intelligent subject recognition, and seamless video integration. Some of those advantages are of course interrelated.

As Canon and Nikon enter the marketplace, Sony’s APS-C and full-frame mirrorless lineups are already very established.

Both Canon and Nikon had been laying the required groundwork for a serious mirrorless system for years, but it was left to the likes of Sony, Olympus and Panasonic (and – lest we forget – Samsung) to really push the limits of what mirrorless cameras could do in actual, shipping, cameras. The headline performance features in cameras like the Sony a6000-series, a7R/a9, Olympus E-M1 II and Samsung NX-1 for example would simply not be possible if they were constrained by traditional DSLR design.

Remember when I said a few months ago that the Nikon 1 System wasn’t dead? Well, it’s definitely dead now

To be fair, the same could be said of the Dual Pixel autofocus system in (say) Canon’s EOS M50, or the rapid capture rates and fast on-sensor AF of the V models in Nikon’s 1-System lineup, but neither the EF-M nor 1-System were ever aimed seriously at enthusiasts or professional photographers. Oh, and remember when I said a few months ago that the Nikon 1 System wasn’t dead, it was just sleeping? Well, it’s definitely dead now.

What’s that you say? Enough of the preamble? You’re starting to think that you already read this article several times already? Fair enough.

In that case, you’ll remember that back then I did something that no sensible technology writer should ever do, and indulged in some light prediction-making. Here’s how things turned out.

Prediction #1: The announcement of 4K-capable full-frame mirrorless cameras from one or both of Canon and Nikon before Photokina.

100% correct. Notwithstanding some debate over whether or not the EOS R is really a capable 4K camera, thanks to its ~1.8X crop and rolling shutter issues. We’re disappointed to see such limited 4K video features in the EOS R, but not completely surprised. The video capabilities of Nikon’s Z6 and Z7 on the other hand did surprise us, and represent a confident step by the company in the direction of becoming a serious manufacturer for enthusiast videographers. Nikon even surprised us by introducing incredibly capable video AF, a compliment reserved up until now for only Canon Dual Pixel AF. Not anymore.

Kenji Tanaka, Senior General Manager of Sony’s Digital Imaging Business Group, pictured in Yokohama for the 2018 CP+ show where he accurately predicted that Canon and Nikon would join Sony in the full-frame mirrorless space within a year.

Prediction #2: Canon will make a relatively simple adapter for EF lenses to its new mount, Nikon will have a more difficult job.

In fact, Canon made three adapters, one a simple EF-RF adapter, and the other two to add a control ring and drop-in CPL/Vari ND filters, respectively. The latter two certainly don’t count as ‘simple’, but Canon’s engineers’ lives were undoubtedly made easier by the fact that EF was already a fully-electronic lensmount.

Nikon meanwhile did face a more difficult task, but actually exceeded my expectations. The FTZ adapter allows full or partial compatibility with a very large number of F-mount lenses, including older lenses with mechanical aperture actuation. Given the challenges of adapting a 60 year-old mount standard to a new mirrorless platform, this is no easy trick to pull off, even if users of many non-AF-S lenses will be disappointed to lose autofocus.

Prediction #3: Nikon might use the open Sony E-mount standard.

Well, I got that one dead wrong, didn’t I? In fact, we’re glad that Nikon didn’t go down this route (which in fact, wiser heads have since told me might not even have been an option in the first place). The Z mount is both wider and offers a shallower flange-back distance compared to E, which has advantages when it comes to adapting lenses from other mounts, as well as potentially for future native Z lens development.

The new Nikon Z mount features an internal mount diameter of 55mm and a very short flange back distance of 16mm.

Prediction #4: Neither Canon nor Nikon will attack the pro market with their initial mirrorless cameras.

I was half-right on this one. Neither company released a truly ‘professional’ model in the same mold as the Canon EOS-1D X Mark II or D5, but the Nikon Z7 is a bit more camera than I expected, and for some photographers (not by any means all) it could replace the excellent D850. Where the Z7 falls down is when it comes to autofocus. Performance doesn’t look like it’s up there with the best 3D tracking implementations in Nikon’s DSLRs, and the UX is very different. Prosumer maybe, but ‘pro’? Not quite.

The Canon EOS R, showing off its single card slot. The Nikon Z7 (which uses XQD media) has been criticized for offering similarly limited redundancy.

Canon meanwhile, bless their hearts, did exactly what we thought they’d do. The EOS R is not the mirrorless 5D IV that a lot of people were hoping for (despite sharing a sensor) and is, in fact, more of a 6D-class product, albeit with some unique features. It would be a mistake to think that the EOS R represents the pinnacle of Canon’s mirrorless ambitions, and we fully expect more pro-oriented cameras to follow it over the next couple of years.

I’ve written elsewhere that the camera I am reminded of most when looking at the EOS R is in fact the 30 year-old EOS 650 – a midrange SLR that nonetheless, had a huge impact on the consumer photography market. And the EOS 650 didn’t even have a single card slot! Can you imagine such a thing?

Prediction #5: A slow build-up of core native lenses will follow the new cameras, and development will ramp up towards the Tokyo 2020 Olympics.

Nikon’s Z-mount roadmap shows what the company has in the pipeline for the next couple of years through 2020 – an important year for both Canon and Nikon thanks to the Tokyo Olympics.

Nikon launched the Z system with a small range of what look like excellent, but not exactly flagship lenses, alongside a roadmap that fills out the lineup into – you guessed it – 2020. Nikon’s roadmap contains some much more serious-looking glass, albeit nothing longer than 200mm, for now.

Canon meanwhile has not released a lens roadmap (in fact I don’t think Canon has ever published such a thing) but launched the EOS R alongside a brace of very impressive wide-aperture lenses, including an L-series 28-70mm F2 and 50mm F1.2. Lenses which, going by their size and price alone, are probably not destined to be purchased by many EOS R shooters.

As predictions go, I’d call that a respectable showing, but there’s a lot we don’t know. I’d love to find out, for example, what Canon’s plans are for expanding its RF lens lineup over the next few months, but since Canon doesn’t ‘do’ lens roadmaps we can only guess (and hope). I think we’re all eager, too, to see truly ‘professional’ mirrorless cameras from both Canon and Nikon to compete with the likes of Sony’s sports and action-focused a9.

I’m also curious about the future (assuming there is one) for APS-C mirrorless models from both companies. Canon already has an APS-C mirrorless system, but its decision to develop the RF mount in parallel to its older EF-M standard and without the option for cross-adaptation is interesting, and forecloses the option of a smooth-ish upgrade for existing EF-M customers.

This illustration, from Canon’s white paper on the new RF mount, shows how similar the mount dimensions of the new mount are to the existing EF standard. The big difference is the much shorter flange-back. Canon’s EF-M mount has a shorter flange-back distance and much narrower throat diameter, which means that EF-M lenses are not adaptable to RF. On the plus side, the larger throat and small flange-back distance of the RF mount allows for large rear lens elements, which can both help keep lenses smaller while reducing many optical aberrations.

Of course, Canon’s EF-S lenses can’t be mounted to full-frame EF DSLRs, either, but APS-C photographers have always been told that if they were really smart they could save up for EF lenses then upgrade seamlessly to a full-frame camera later. Canon’s obvious lack of interest in developing new EF-S lenses over the past decade served as a strong hint, in fact, that the company really wanted its APS-C DSLR customers to do exactly that. Canon’s mirrorless customers won’t have the option. Will there ever be an APS-C RF or Z-mount camera? I’m not sure, but there’s no obvious reason why either company couldn’t create a line of APS-C format RF/Z mirrorless cameras in the future.

So what’s next? Another prediction that I made back in spring – and a pretty safe one – is that new mirrorless cameras will be followed by new third-party lenses, for both the new mounts and for Sony’s existing full-frame E-mount.

Tamron’s upcoming 28-75mm F2.8 was the first third-party zoom lens designed natively for full-frame mirrorless cameras. It will not be the last.

With Photokina just around the corner, we’re fully expecting new native E-mount Tamron and Sigma lenses, but it might be a while before either company catches up with the new Canon RF and Nikon Z mounts. Why? Because unlike Sony (but true to form) neither mount is ‘open’. E-mount isn’t open-source (you can’t just download the complete specification from Github, for example), but Sony does provide information to certain third-parties like Sigma and Tamron for those manufacturers to use when developing native E-mount lenses.

In order for those third-party lens manufacturers to offer RF or Z-mount lenses, they’ll have to reverse-engineer the standard. Anyone who remembers the bad old days of the 90s and early 2000s, where third-party lenses for (especially) Canon would routinely stop working when new camera bodies were released, might not be looking forward to this prospect…

But that’s just speculation, not prediction. And its all in the future – for now, let us know what you think of the new Canon RF and Nikon Z mounts in the comments.

Read our complete Canon EOS R launch coverage

Read our complete Nikon Z6/7 launch coverage

Articles: Digital Photography Review (dpreview.com)

 
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Canon full-frame mirrorless system debuts with announcement of EOS R

08 Sep

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Just two weeks after Nikon introduced its Z-system, Canon has joined the full-frame mirrorless club with its new RF-mount system, with the first camera being the EOS R. Canon makes very clear this is merely the first in a new system.

The EOS R features a 30.3 effective Megapixel CMOS sensor and a DIGIC 8 processor. It uses RF-mount lenses – four of which will be available at launch – with support for both EF and EF-S lenses via one of three optional adapters, which it says add capability to existing lenses. Dual Pixel AF is onboard, with a whopping 5,655 selectable points with 88% vertical and 100% horizontal coverage, plus the ability to focus down to -6EV (though this is rated with an F1.2 lens, which gives a 1.5EV advantage over brands quoting figures for F2 lenses). There’s a ‘Pupil Detection’ mode for ensuring eyes are in focus but this is only available in AF-S mode.

“Being the first to market with a full-frame mirrorless system was never our goal. It was to reimagine optical excellence”

The camera has a native ISO range of 100-40,000 that expands to 50-102,400. The EOS R supports both Canon’s 14-bit CRW Raw format as well as the relatively new C-Raw, which offers much smaller file sizes. The fastest shutter speed available is 1/8000 sec, with an X-sync speed of 1/200 sec.

Design-wise, the EOS R is an SLR-style camera with a weather-sealed magnesium alloy body. It offers an electronic viewfinder with a resolution of 3.69 million dots, a magnification of 0.76x and a 23mm eyepoint. Its fully articulating 3.2″ LCD is touch-enabled and has 2.1 million dots. A customizable touchpad to the right of the viewfinder allows for quickly changing ISO, white balance, movie shooting and more. Canon users will be able to commiserate with Nikon owners as, like that company’s new Z-series cameras, the EOS R offers just one memory card slot, which supports UHS-II media. The camera has HDMI, USB-C, wired remote, headphone and microphone sockets. Wi-Fi and Bluetooth are built-in.

“Most revolutionary component isn’t camera, it’s the mount”

In terms of performance, the EOS R can shoot continuously at 8 fps in AF-S and 5 fps in AF-C ‘shooting speed priority’ mode. If you want to use ‘tracking priority’ mode in AF-C the frame rate drops to just 3 fps. The buffer is quite healthy, though, with the ability to save 47 Raw, 78 C-Raw or 100 JPEGs when shooting at full speed with a UHS-II card. It uses the familiar LP-E6N battery pack which allows for 370 shots per charge using the LCD (per CIPA standard) or 350 with the EVF. (Power save modes boost those numbers to 450 and 430, respectively.) The optional BG-E22 grip fills the battery slot but has room for two batteries: this gives you twice the battery life.

Video-wise, things are less impressive. On the plus side, you get Dual Pixel AF, even in 4K and the camera retains separate exposure and button customization settings for video. Sadly it maxes out at 4K/30p and features the same 1.7x crop that essentially reduces the camera down to sub APS-C quality and still appears to exhibit significant rolling shutter.

When it comes to capture, users can choose between ALL-I and IPB compression, with top bit rates of 420Mbps and 120Mbps, respectively. You’ll need a V60-rated SD card to get that highest bitrate but the camera can record for up to 29:59 even in 4K mode, with a large enough card. Dropping down to Full HD allows for 60 fps recording at 180 Mbps using ALL-I compression. Internal video capture is 8-bit 4:2:0. The camera can also capture Canon Log internally in 8-bit or can put out a 10-bit 4:2:2 C-Log stream over HDMI for use with an external recorder.

“You don’t switch to it, you add it to the family”

The camera can also record 120p footage at 1280 x 720 at a healthy 160Mbps bit rate. Recording time limits are 7.5 minutes for 120 fps shooting and just under 30 minutes for everything else.

The EOS R will be available in October for $ 2299 body only or $ 3399 with the 24-105mm F4L lens.

Canon EOS R initial sample images

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Press Release:

EVOLUTION MEETS REVOLUTION AS CANON ANNOUNCES THE ALL-NEW EOS R SYSTEM

Optical Innovation Inspires the Next Leap Forward in Imaging

MELVILLE, N.Y., September 5, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the next revolution in the company’s long history of innovative and award-winning camera systems, the EOS R system featuring the newly designed RF mount. Recognizing the need to advance optical design, the Company sought to create a versatile and powerful new system that supports all current EF, EF-S, TS-E and MP-E lenses[i], and also provides the optical advancements and engineering flexibility to build upon for years to come.

When Canon set forth to develop a new interchangeable lens camera system, they focused on three core optical principles: high-image quality, high-specification performance, and compact design. Recognizing that optics is the foundation for any camera system, the RF mount was conceived to open new doors in optical design. Canon’s new RF mount features the same size diameter as the EF mount (54mm) and shorter back focus distance. This allows for lenses to sit closer to the sensor (the focal plane) and allowed Canon optical engineers to reimagine lens design utilizing larger rear lens elements to produce an image on the full-frame sensor. This new optical formula has paved the way for higher performing lenses. In addition, the Canon RF mount features a high-speed 12-pin communication system that provides faster and more in-depth communication between the camera and lens over existing Canon mount systems.

The EOS R system is designed for full, uninhibited compatibility with all existing EF, EF-S, TS-E and MP-E lenses through the use of mount adapters[ii]. In addition, through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter these lenses, in fact, gain functionality.

“There has never been a time in history in which visual expression has been so prolific. Imaging, both still and video, are the communication mediums of today’s society. Much in the same way we learned to type in the past, today’s youth are skilled in shooting, editing, and visual storytelling in ways that only the masters of each craft were decades ago,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Knowing this, we needed to step back and design a system that delivers all the creative expression and functionality today’s youth crave, now and in the years to come.”

The First in a New System: The EOS R

The new Canon EOS R full-frame mirrorless camera features a 30.3 megapixel CMOS sensor that is powered by the Company’s latest image processor, DIGIC 8, enabling shooting at up to 8.0 frames per second[iii]. The new camera inherits a lot from Canon’s legacy in both EOS and Cinema EOS. Video storytellers can capture stunning 4K UHD video up to 30fps and record in 10-bit 4:2:2 (with an external recorder). The EOS R also comes with the ability to shoot Canon Log, providing 12 stops of dynamic range, minimal loss of detail in shadows and highlighted areas and an increased range of choices when color grading. Users with an existing collection of Canon lenses will be excited to know that all EF and EF-S lens are compatible with the camera. In order to do so, photographers and videographers can choose between using one of three new mount adapters, each uniquely designed to meet the individual needs of the user.

The new Canon EOS R camera features Dual Pixel CMOS Auto Focus with 5,655 manually selectable AF points[iv], supporting AF at up to f/11 with a 384 zone (24×16) real-time metering system. With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as EV-6. When using the RF 24-105mm F4 L IS USM lens with the EOS R, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AF[v], making it the fastest autofocus speed in the world[vi]. These features provide photographers and videographers with Canon’s most advanced AF system to date. The EOS R also features a silent shutter setting when shooting in single-shot mode; an important feature for those who need to capture imagery without disrupting the scene. An upcoming free firmware update will enable silent shutter in continuous shooting mode as well.

“The EOS R system is not just a new camera or a new lens mount, it is a new design that will allow us to produce visual tools that were previously impossible, and allow our customers to tell their stories with greater depth, richness of color, and creative flexibility, in optically stunning ways.” states Kazuto Ogawa

Thoughts From the First Users

“I think every camera system has its place and it’s all about having the right tool for the job,” reported acclaimed outdoor photographer and Canon Explorer of Light Jimmy Chin. “The new EOS R system for me in particular is very useful for the kind of shooting that I do in the mountains, where I need to worry about the size and weight. Having the option to use the new RF lenses or the EF lenses is really great.”

“I was instantly impressed with how quickly the EOS R was able to focus,” remarked celebrated fashion photographer and Canon Explorer of Light Lindsay Adler. “Whether my subject was moving or I was shooting in near-complete darkness, I had no problem getting tack-sharp focus in every shot. It was a relief to know my gear wasn’t going to hold me back from executing my vision, but instead it would really help me to execute this vision.”

“For us, it’s all about getting the shot no one else can get, and a lot of this has to do with the camera,” says Devin Graham, director and filmmaker behind YouTube’s DevinSuperTramp. “The new EOS R will become one of our main cameras. It has a very small footprint, yet is able to create amazing images. As for the lenses, the new RF 28-70mm F2 has just become one of my all-time favorites. I’ll be bringing it on every project.”

Conveniently placed just to the right of the EVF, Canon has introduced a new Multi-Function Bar that will allows users to more easily access their customizable settings, such as AF, ISO and White Balance. Users will have the option to either slide or tap the bar to gain access to the settings and adjust on-the-go as they deem necessary depending on each particular shooting situation.

Answering the demand for enhanced mobile editing of RAW image files, Canon is also announcing a new application, Digital Photo Professional Express (DPP Express). In combination with an updated Canon Camera Connect App, DPP Express enables users to send, view, edit and process CR3 RAW files on their iPad[vii]. A free download of the app will be available October 2018.

Additional noteworthy features of the EOS R Camera include:

  • RF Mount Compatible with RF Lenses and EF/EF-S Lenses
  • Built-in EVF with 3.69 Million Dots, Vari-angle Touchscreen LCD and Dot-matrix LCD Panel
  • ISO range of 100-40,000, expandable to 102,400
    • USB 3.1 in-camera charging support
  • Built-in Bluetooth and Wi-Fi® providing easy sharing to compatible smart devices and social media sites
  • Single UHS-II SD card slot
  • CR3(RAW/C-RAW) and Dual Pixel RAW Support
  • Dust and weather resistant

Availability and Pricing

The Canon EOS R full-frame mirrorless camera is scheduled to be available in October 2018 for an estimated retail price of $ 2299* for the body only. It will also be sold as a body-and-lens kit with the new RF 24-105mm F4 L IS USM lens for $ 3399*.

[i] When attaching an EF-S lens via any of Canon’s new R-series mount adapters, the new EOS R automatically switches to APS-C crop mode.

[ii] When attaching an EF-S lens via any of Canon’s new R-series mount adapters, the new EOS R automatically switches to APS-C crop mode.

[iii] Continuous shooting speed may vary depending on the shutter speed, the aperture, the lens being used, the battery charge and various camera settings.

[iv] Available AF points may decrease when shooting with AF cropping or in movie mode, or depending on camera settings or lens attached.

[v] Based on results of AF speed tests in accordance with CIPA guidelines. Results may vary depending on shooting conditions and lens in use. Relies on internal measurement method.

  • Brightness at time of distance measurement: EV12(regular temperature, ISO 100)
  • Shooting mode: M
  • Lens in use: RF 24-105mm F4 L IS USM, with focal distance of 24mm and live-view mode on(with manual shutter button operation
  • AF mode: Live single-point AF(central) and AF operation: One-shot AF

[vi] Among interchangeable lens digital mirrorless cameras incorporating 35mm full frame equivalent image sensors with phase-difference detection AF on the image plane and contrast detection AF, available in the market as of September 5th, 2018 (Based on Canon’s Research).

[vii] Compatible with iPad models utilizing iOS 11 or later and equipped with at least 2GB of onboard RAM—specifically, iPad Pro (all models), iPad (5th generation), iPad (6th generation), iPad mini 4 and iPad Air 2.

*Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

Canon EOS R specifications

Price
MSRP $ 2299 (body only), $ 3399 (w/24-105 F4L lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 6720 x 4480
Other resolutions 4176 x 2784 (1.6x crop)
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 30 megapixels
Sensor photo detectors 32 megapixels
Sensor size Full frame (36 x 24 mm)
Sensor type CMOS
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-40000 (expands to 50-102400)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 102400
White balance presets 6
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG
  • Raw (14-bit Canon CRW)
  • C-Raw (Canon compressed Raw)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 5655
Lens mount Canon RF
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3.2″
Screen dots 2,100,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.76×
Viewfinder resolution 3,690,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash X sync speed 1/200 sec
Drive modes
  • Single
  • High-speed continuous
  • Low-speed continuous
  • Self-timer
Continuous drive 8.0 fps
Self-timer Yes (2 or 10 secs)
Metering modes
  • Multi
  • Center-weighted
  • Spot
  • Partial
Exposure compensation ±3 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±3 (3 frames at 1/3 EV, 1/2 EV steps)
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 480 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 120 Mbps, MOV, H.264, AAC
  • 3840 x 2160 @ 24p / 480 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 120 Mbps, MOV, H.264, AAC
  • 3840 x 2160 @ 23.98p / 480 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 120 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 60p / 180 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 60 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 30p / 90 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 30 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 24p / 90 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 30 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 23.98p / 90 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 30 Mbps, MOV, H.264, AAC
  • 1280 x 720 @ 120p / 160 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD card (UHS-II supported)
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes (with LP-E6N only)
HDMI Yes (Mini-HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.1 LE
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description LP-E6N lithium-ion battery & charger
Battery Life (CIPA) 370
Weight (inc. batteries) 660 g (1.46 lb / 23.28 oz)
Dimensions 136 x 98 x 84 mm (5.35 x 3.86 x 3.31″)
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Four RF-mount lenses kick off Canon’s new full-frame mirrorless system

08 Sep

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Canon’s first full-frame mount in more than 30 years is here, in the shape of the RF-mount. Featuring the same diameter as the venerable EF-mount but with a much shorter flange back distance, RF is designed from the ground up for mirrorless cameras. It’s still early days, but four lenses have been unveiled alongside the consumer-grade EOS R, providing a tantalizing glimpse into Canon’s future ambitions.

Today sees the unveiling of the Canon RF 28-70mm F2L USM, RF 50mm F1.2L USM (pictured below), RF 24-105mm F4L IS USM and RF 35mm F1.8 Macro IS STM. This quartet covers common focal lengths from 24mm to 105mm and includes an exceptionally fast aperture zoom lens, a macro and – in a throwback to the early days of the EF system in the late 1980s – a flagship fast 50mm (shown below on the EOS R).

Perhaps the most interesting of the four new lenses is the 28-70mm F2, which weighs in at a very substantial 1430g (3.15lbs) – a 77% weight increase compared to the wider but slower EF 24-70mm F2.8 II. Boasting 19 elements in 13 groups, the 28-70mm F2 is a large lens, with a determinedly non-standard front filter diameter of 95mm. The RF 24-105mm F4 appears somewhat more conventional, weighing in at a much more manageable 700g (1.5lb) and featuring a standard filter thread of 77mm. It’s no surprise that this is the lens that Canon is kitting with the EOS R at launch.

The RF 24-105 F4L IS USM has been designed to be video-friendly, with minimal focus breathing, a fast, silent ‘Nano USM’ focus motor and the ability to control its aperture in 1/8th EV steps.

The RF 50mm F1.2 looks to be a pretty substantial chunk of glass, featuring 15 elements in nine groups, and weighing 950g (2.1lb). Meanwhile the lightweight (305g, 0.7lb) RF 35mm F1.8 Macro covers both a useful focal length, and offers a handy 0.5X magnification macro capability. Considering its comparatively smaller size and lighter weight, the RF 35mm F1.8 looks like it could be a very attractive walk-around prime for the small and light EOS R.

The EF-RF adapters will allow the millions of existing EF lenses in circulation to be used “without compromise”

In addition to the four new lenses, Canon has also introduced three EF to RF adapters. The most basic is a simple mount converter, with an additional two adapters which add a customizable control ring (to match the clicking, customizable control rings on native RF lenses), and a tray for drop-in filters, respectively. The drop-in filter adapter makes it possible to add a Vari ND or circular polarizer to all lenses, including the traditionally awkward super-wides.

Canon promises that the EF-RF adapters will allow the millions of existing EF lenses in circulation to be used “without compromise” on the new EOS R and future RF-mount cameras.

The RF 28-70mm F2L USM will cost $ 2,999 and will be available in December. The RF 24-105mm F4L IS USM will also be available in December for $ 1099 ($ 3399 as a kit with the EOS R). The RF 50mm F1.2L USM will cost $ 2,299 and will start shipping next month, while the RF 35mm F1.8 Macro IS STM will cost $ 499 and will be available in December. All three of the ‘L’ lenses are weather-sealed.

Press Release

BEYOND THE REALM OF TRADITIONAL POSSIBILITIES:
CANON INTRODUCES FOUR RF MOUNT LENSES

Canon Also Introduces Three RF Mount Adapters, Providing EF & EF-S Lenses with Full Compatibility and Enhanced Functionality ?with the New EOS R Camera

MELVILLE, N.Y., September 5, 2018 – Helping to rewrite the rules of visual expression, Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a variety of new RF lenses and accessories to accompany the newly announced EOS R Full-Frame Mirrorless Camera System. The four new RF lenses are built around Canon’s new RF mount, which features a large 54mm diameter and shorter back focus distance than on current EOS DSLR cameras. The new RF mount enables new possibilities in optical design and lens formulation, allowing for faster and lighter lenses with higher performing optics.

The four new lenses, the Canon RF 28-70mm F2 L USM, RF 50mm F1.2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM capitalize on the robust optic foundation of Canon’s new EOS R system. The design behind Canon’s new EOS R camera and RF lens system started with the concept of the optimal rear lens element diameter and shorter distance (back focus) for a Full-Frame image sensor.

With over 130 million EF lenses in circulation since Canon launched the mount in 1987*, the Company is enhancing the possibilities for its loyal customers who own and love their EF glass. Canon is introducing three RF Lens Mount Adapters that expand the capabilities of existing EF lenses when paired with the EOS R camera. The Canon Mount Adapter EF-EOS R allows photographers to utilize the full breadth of Canon’s EF, EF-S, TS-E, and MP-E lenses on the newly introduced EOS R camera system. The Control Ring Mount Adapter adds a customizable control ring via the adapter that provides photographers with added functionality to their fingertips. The Drop-in Filter Mount Adapter now easily places circular polarizing or variable neutral density filters behind the lens, opening up new options for lenses such as the EF 11-24mm where using optical filters were previously not an option.

“Knowing exceptional optics are a vital tool in shaping the image a photographer captures, Canon designed the EOS R camera system from the ground up with optics as the starting point,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is very excited about the world-class optics we have developed to marry with the new RF mount. With our rich history and more than 130 million EF lenses being used across the globe, Canon optics will continue to be at the forefront of our digital imaging development now and into the future.”

New Canon RF Series Lenses

Three of the newly announced Canon RF lenses are counted among Canon’s top-of-the-line L-series optics; incorporating rugged, dust and water-resistant construction. All four new RF lenses feature a customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO.

The Canon RF 28-70mm F2 L USM lens, the world’s first standard zoom lens with an f/2 aperture is excellent for capturing landscapes, weddings and portraits with its large aperture for stunning bokeh. Initial testing within Canon has shown this new lens to produce better optical image quality and sharpness over similar focal length EF-series lenses, including the extremely popular and highly regarded EF 24-70mm f/2.8L II USM.

A portrait photographer’s must-have, the Canon RF 50mm F1.2 L USM lens sports an ultra large-diameter f/1.2 aperture and Canon’s Air Sphere Coating (ASC) technology to dramatically reduce flares and ghosting. This amazing new lens is capable of rendering subjects life-size on the full-frame sensor with its minimum focusing distance of only 0.59 inches.

Photographers seeking an all-around utility lens for the new EOS R camera system need to look no further than the Canon RF 24-105mm F4 L IS USM lens. Coming in nine percent shorter in length than the EF 24-105mm f/4L IS II USM, this compact lens employs a CIPA standard of 5 stops of IS and is equipped with NANO USM technology, the first L-series lens with the technology. This small chip-shaped ultrasonic motor is engineered to help deliver high-speed, smooth, precise and near-silent operation, plus full-time manual focus (when using one-shot AF).

A fast, wide-angle single focus lens, the Canon RF 35mm F1.8 MACRO IS STM lens is an excellent option for photographers looking for an affordable compact lens. Featuring a maximum shooting magnification of 0.5x, the lens can easily shoot macro photography of subjects such as flowers, food and even insects. The lens also utilizes a CIPA standard of 5 stops of IS and is compatible with Hybrid IS, compensating for both angular and shift camera shake.

Enhanced Capabilities for Canon EF Lenses

Thanks to its large lens mount design, Canon’s new EOS R series camera system delivers new capabilities in both design and function, but for existing Canon lens owners it does something incredible. It enhances the capabilities of existing EF and EF-S lenses with full compatibility and in some cases, enhanced functionality when paired with one of three RF mount adapters.

Canon lenses are historically top-rated, and the Company is looking to help customers gain even more value in their investment with three new RF mount adapters.

The Canon Mount Adapter EF-EOS R is a standard adapter that provides full compatibility with EF lenses. Autofocus, metadata, and Optical Image Stabilization on EF lenses all continue to work seamlessly with the new EOS R camera through this adapter.
The Control Ring Mount Adapter EF-EOS R continues full EF lens compatibility with the addition of a customizable control ring. Functions that can be assigned and adjusted by the control ring include aperture, shutter speed, ISO speed and exposure compensation.
In addition to full EF lens compatibility, the Drop-In Filter Mount Adapter EF-EOS R allows for lens filters to be used behind any EF lens and help photographers conveniently utilize variable ND and circular polarizing filters with any EF lens.

New Speedlite Series

Canon is also introducing a new compact and lightweight Speedlite, the EL-100. Designed for photographers who are just beginning to use an external flash or are in need of a secondary unit, the new Speedlite delivers both soft and natural lighting reproduction. In addition, the EL-100 can rotate upwards and to the left and right enabling photographers to bounce the flash off of nearby ceilings, walls or surfaces.

Additional Features of the Canon Speedlite EL-100 include:

  • Maximum Guide Number of Approx. 85 ft./26m at ISO 100
  • 24mm Wide-angle Coverage
  • Optical Wireless Flash Function (Sender and Receiver)
  • Flash Exposure Control Including Support for Stroboscopic Flash and Continuous
  • Shooting Camera-linked Functions Including Interlocked External Flash Power On/Off
  • Mode Dial with AUTO Position

Availability and Pricing

The Canon RF 50mm F1.2 L USM will be available in October 2018 for an estimated retail price of $ 2299. The Canon RF 28-70mm F2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM will all be available for purchase in December 2018 for an estimated retail price of $ 2999, $ 1099 and $ 499.99 respectively.

The Canon Mount Adapter EF-EOS R and Control Ring Mount Adapter EF-EOS R will be available for purchase in October 2018 for an estimated retail price of $ 99.99 and $ 199.99 respectively. The Drop-in Filter Mount Adapter EF-EOS R will all be available for purchase in February 2019 for an estimated retail price of $ 399.99 with a variable ND filter or $ 299.99 with a circular polarizing filter.

The Canon Speedlite EL-100 will be available for purchase in October 2018 for an estimated retail price of $ 199.99.

For more information on the new Canon RF lenses and accessories, please visit usa.canon.com/eosrsystem.

Canon RF 35mm F1.8 IS STM / RF 50mm F1.2L specifications

  Canon RF 35mm F1.8 IS STM Macro Canon RF 50mm F1.2L USM
Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 35 mm 50 mm
Image stabilization Yes No
CIPA Image stabilization rating 5 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F1.8 F1.2
Minimum aperture F22 F16
Aperture ring No
Number of diaphragm blades 9 10
Optics
Elements 11 15
Groups 9
Special elements / coatings 1 aspherical element, Super Spectra Coating Ground aspherical + aspherical _+ UD elements, Air Sphere and fluorine coatings
Focus
Minimum focus 0.17 m (6.69″) 0.40 m (15.75″)
Maximum magnification 0.5× 0.19×
Autofocus Yes
Motor type Stepper motor Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 305 g (0.67 lb) 950 g (2.09 lb)
Diameter 74 mm (2.91″) 90 mm (3.54″)
Length 63 mm (2.48″) 108 mm (4.25″)
Sealing No Yes
Colour Black
Filter thread 52 mm 77 mm

Canon RF 28-70mm F2L USM / RF 24-105mm F4L IS USM specifications

  Canon RF 28-70mm F2L USM Canon RF 24-105mm F4L IS USM
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 28–70 mm 24–105 mm
Image stabilization No Yes
CIPA Image stabilization rating 5 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F2 F4
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 19 18
Groups 13 14
Special elements / coatings UD + aspherical elements, Air Sphere, SWC and fluorine coatings Aspherical + UD elements, Air Sphere and fluorine coatings
Focus
Minimum focus 0.39 m (15.35″) 0.45 m (17.72″)
Maximum magnification 0.18× 0.24×
Autofocus Yes
Motor type Ring-type ultrasonic Nano ultrasonic
Full time manual Yes
Focus method Internal Rear
Distance scale No
DoF scale No
Physical
Weight 1430 g (3.15 lb) 700 g (1.54 lb)
Diameter 104 mm (4.09″) 84 mm (3.31″)
Length 140 mm (5.51″) 107 mm (4.21″)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 95 mm 77 mm

Articles: Digital Photography Review (dpreview.com)

 
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Rumors point to imminent Canon full-frame mirrorless system launch

01 Sep

Over the past few days, rumor sites seem to have come to a consensus that Canon will launch a full-frame mirrorless camera in the very near future. Canon Rumors and Canon Watch point to a full-frame body called the EOS R, alongside a list of lenses published today by Japanese news and rumor site Nokishita. A list of ‘RF’ lenses rumored to be launched with the system include:

  • Canon RF 35mm F1.8 M IS
  • Canon RF 50mm F1.2L USM
  • Canon RF 28-70mm F2L USM
  • Canon RF 24-105mm F4L USM

Also rumored to be announced soon:

  • Canon EF-M 32mm F1.4 STM
  • Canon EF 400mm F2.8L IS III
  • Canon EF 600mm F4L IS III

Nokishita also suggests that a battery-grip, radio-wave receiver and an adapter (M to R, or “mount” – they say it’s unclear which) will also be announced.

Obviously, nothing is confirmed at this point and rumors are rumors. But we’d be surprised if Canon wasn’t prepping a full-frame mirrorless system amid competition from Sony and now Nikon. What’s your take on this list of lenses supposedly launching with the system? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron introduces 2nd-generation 15-30mm F2.8 full-frame lens for Canon and Nikon

31 Aug

Tamron has updated its SP 15-30mm F2.8 Di VC USD lens with new elements and coatings, a more powerful autofocus CPU and an enhanced Vibration Correction system.

The use of XGM (eXpanded glass-molded aspherical) and low-dispersion elements reduce distortion and lateral chromatic aberrations, according to Tamron, while an AX (Anti-reflection eXpand) coating handles ghosting and flare. The lens is weather-sealed and has a fluorine coating to keep water and oil off of the front element. The 15-30 F2.8 has nine rounded aperture blades.

A Dual Multi-Processing Unit and new algorithms have boosting AF speed and precision, and the VC system now corrects for up to 4.5 stops of shake. The 15-30 has a minimum focus distance of 28cm (11″), a magnification of 0.2x and support for rear gel filters on the Canon model. It supports Tamron’s TAP-in Console for making fine adjustments to autofocus and Vibration Correction.

The Nikon FX-mount lens will ship first on September 21st, with the Canon EF-mount version coming about three weeks later. The Tamron SP 15-30mm F2.8 G2 will be priced at $ 1299.

Press Release

Tamron Announces A New Advanced, Super High-Quality, Fast, Ultra-Wideangle Zoom Lens

SP 15-30mm F/2.8 Di VC USD G2 (Model A041)

August 31, 2018, Commack, New York— Tamron announces the launch of a new high-speed ultra-wide-angle zoom lens, the SP 15-30mm F/2.8 Di VC USD G2 (Model A041), for full-frame DSLR cameras. The new model will be available in Nikon mount on September 21st and in Canon mount October 12th at a suggested retail price of $ 1299.

With a well-established reputation for ultra-high-quality wideangle zoom lenses with its Model A012, Tamron carries on the tradition of high optical performance with the new SP 15-30mm F/2.8 Di VC USD G2 (Model A041). By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element, as well as multiple LD (Low Dispersion) lens elements, the distortion and lateral chromatic aberrations so common in wideangle shooting have been greatly minimized. Furthermore, a newly developed AX (Anti-reflection eXpand) Coating has been applied to reduce ghosting and flare more thoroughly than ever before. The optical performance in this high-speed F/2.8 ultra-wideangle zoom lens is outstanding. In addition, the built-in Dual MPU (Micro-Processing Unit) enables vastly improved AF speed and precision and image stabilization. This is a next-generation super high-quality, high-speed ultra-wideangle zoom lens with first-rate optics and a wide range of features that serve to revitalize the user’s shooting experience. With the release of this model, three of Tamron’s high-speed F/2.8 zoom lens with VC (Vibration Compensation) are now G2 (Generation 2).

PRODUCT HIGHLIGHTS

1. Super high-quality high-speed ultra-wideangle zoom lens
The Model A041 is an F/2.8 ultra-wideangle lens with a focal length starting at 15mm that offers high resolution even in the peripheral area of the image. By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element and multiple LD (Low Dispersion) lens elements to curtail distortion and lateral chromatic aberrations, Tamron has achieved a degree of resolution throughout the range that is just as good as a fixed focal length lens.

2. Newly developed AX Coating
The AX (Anti-reflection eXpand) Coating, especially effective for wideangle lenses that tend to let in harmful light from peripheral areas, was developed to control rays that affect image quality. It is a revolutionary new proprietary coating developed in-house by Tamron using specialized deposition technology. The new coating keeps the reflection factor for peripheral areas at the same high level as that for the center area, not only overcoming standard curvature issues, but even overcoming the problems of conventionally produced convex surface with large curvatures for which uniform deposition has always proved difficult to achieve. Furthermore, the Model A041, along with eBand (Extended Bandwidth & Angular-Dependency) Coating utilizing nanotechnology, and BBAR (Broad-Band Anti-Reflection) Coating, makes effective use of three different types of coatings, thereby enabling unsurpassed curtailment of ghosting and flare and consequently enabling superlative, exceptionally clear image quality edge to edge.

3. High-speed, high-precision AF
Superb AF speed and precision is delivered by equipping the lens with a Dual MPU (Micro-Processing Unit) system and employing an enhanced AF control algorithm to improve performance. The AF drive uses proprietary Tamron technology, USD (Ultrasonic Silent Drive), enabling high torque, high response, and silent operation. And because it comes with a Full-time Manual Focus override system, manual focus adjustments can be made on the fly.

4. VC promises sharp images for all varieties of shooting
Tamron released the first high-speed F/2.8 ultra-wideangle zoom lens in the world equipped with a VC (Vibration Compensation) mechanism, the original Model A012. The new Model A041 has been further improved with a newly developed VC mechanism that surpasses former versions and reaches 4.5 stops , according to CIPA standards. This makes it possible to shoot sharp photos over a wide range of photographic scenes, including indoor and outdoor shots as well as handheld shots at stopped-down aperture settings for landscape photography.

5. Rear filter holder
The Model A041 made for use on Canon (EF-mount) cameras comes with a filter holder as a standard feature that lets you insert gelatin and other sheet filters into the rear side of the lens. This makes photography using filters much easier and simpler by overcoming the problem of the curvature of the front lens elements that made shooting with filters so difficult in the past.

6. Vastly improved highly durable Fluorine Coating
Abrasion resistance capability has been vastly improved on the new Model A041. The front surface of the lens element is coated with a Fluorine Coating based on a newly developed fluorine compound with high water- and oil-repellent properties. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture, and fingerprints, and enabling your important lenses to be continually protected on a long-term basis.

7. The new design provides greater operability and design consistency
With the new SP design applied, Model A041 shares the same feel of high quality and operability as the other two models in this series, SP 24-70mm F/2.8 Di VC USD G2 (Model A032) and SP 70-200mm F/2.8 Di VC USD G2 (Model A025). Tamron has merged beautiful craftsmanship with intuitive design in this new high-speed ultra-wideangle zoom lens. Even details like the shape of the switch box, distance-scale window, and the precision and stability of the metallic mount reveal a commitment to functionality, as well as design. The result is a next-generation lens that’s easy to use yet loaded with cutting-edge technology.

8. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new Model A041 is compatible with the TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer for easy updating of the lens’s firmware as well as customization of features including fine adjustments to the focus position of AF and VC control.

9. Moisture-Resistant Construction
Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain to provide Moisture-Resistant Construction. This feature affords an additional layer of protection when shooting outdoors under adverse weather conditions.

10. Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series
Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product’s robustness and improvements in a variety of individual functions. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.

Tamron SP 15-30mm F2.8 Di VC USD G2 specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 15–30 mm
Image stabilization Yes
CIPA Image stabilization rating 4.5 stop(s)
Lens mount Canon EF, Nikon F (FX)
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 18
Groups 13
Special elements / coatings 2 eXpanded glass molded aspherical + 1 molded glass aspherical + 3 aspherical elements, Anti-reflection eXpand + BBAR + fluorine coatings
Focus
Minimum focus 0.28 m (11.02″)
Maximum magnification 0.2×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 1110 g (2.45 lb)
Diameter 98 mm (3.86″)
Length 145 mm (5.71″)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter notes Canon version accepts rear gel filters
Hood supplied Yes
Tripod collar No

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Nikon Z 7: what you need to know about Nikon’s first mirrorless full-frame ILC

25 Aug

Nikon Z 7: what you need to know about Nikon’s first mirrorless full-frame ILC

The Nikon Z 7 is a full-frame mirrorless interchangeable lens camera built around a 46MP full-frame sensor – likely very similar to the sensor inside the D850. In fact, despite a 26% weight difference, the Z 7 and the D850 have quite a lot in common.

But the differences run deeper that the removal of the mirror. The Z 7 is a camera designed from the ground-up to always work in live view mode. So what does that mean for the camera as a whole?

Body and design

Nikon will probably hate me saying this, but the Z 7 looks a lot like the Sony a9, with the grip from a D850 glued onto the side of it. And that’s not a bad thing, to be honest. The Z 7 is very comfortable to hold, and generally speaking it works in much the same way as the D850 from its twin control dials down to its near-identical menu system.

Nikon claims that the Z 7 offers the same durability as the D850, which should reassure its loyal user-base, and while we don’t have specific details we’d expect it to be sealed against dust and moisture incursion at all major seams and control points. The Z 7 certainly feels well-built, and while more angular than Nikon’s current DSLRs, it should feel pretty familiar to any seasoned Nikon DSLR user. The Z 7 even has a nice high-contrast OLED top-plate information display.

Unfamiliar to some Nikon DSLR users will be the Z 7’s card format. Nikon is breaking from the past and only including a single XQD card slot in the Z 7, with support for next-generation CF Express media (which shares the same form factor) coming later, via a firmware update.

Body and design

It is clear that Nikon has made every effort not to alienate its existing DSLR userbase with the Z 7, even down to the battery that the new camera uses. The Z 7 ships with an EN-EL15b battery, which is the same basic shape as the EN-EL15a that’s used in the D850 and D7500. As such, the same batteries can be swapped between all three cameras (and any other EN-EL15-compatible DSLR) although in-camera USB charging is only available with the new EN-EL15b.

To make it easier to tell between the batteries, the ‘b’ version is more angular than the previous versions. The general rule is that the ‘a’ and ‘b’ versions, with grey cases will work well in the the recent cameras, but the original version in the black case may not.

The Z 7’s CIPA rating is a middling 330 shots per charge, but as usual this is likely to prove extremely conservative in normal use. On a recent video shoot, we managed more than 1600 images and several 4K video clips on the Z 7 with a single EN-EL15b before the battery started blinking red, so it’ll depend to a large extent on how you shoot.

Sensor

At the heart of the Z 7 is a 45.7MP BSI-CMOS sensor, based on the sensor used in Nikon’s popular D850. As such, it’s most likely fabricated by Sony Semiconductor from a Nikon design. ISO sensitivities range from 64-25,600 and at ISO 64 we’re expecting the Z 7 to offer the same class-leading detail and dynamic range as its DSLR cousin. For JPEG shooters, the Z 7 offers a grand total of six sharpening levels for fine-tuning sharpness, plus a new ‘mid-range sharpening’ setting for even finer control.

One major difference between the Z 7 and D850’s sensors is of course the addition of on-sensor phase-detection autofocus pixels in the mirrorless camera. These give the camera an understanding of subject distance that a DSLR would gain from its dedicated autofocus module. They underpin the camera’s ability to assess distance changes and also allow it to drive adapted F-mount lenses in the same manner as a DSLR would.

Autofocus

The Z 7 offers 493 PDAF points, which cover a total of 90% of the frame both horizontally and vertically. Outside of this area (and for added precision within it), contrast-detection autofocus comes into play. With F2 and faster lenses, the Z 7’s autofocus system is rated down to -3EV, provided that you’re shooting wide open (more on that in a minute).

In briefings with DPReview, Nikon representatives have told us that autofocus performance should be broadly comparable to the D850. A direct comparison is impossible given that the Z 7 is launching wth only three native lenses, but it’s certainly true that with fast-aperture F mount lens attached via the FTZ adapter, autofocus response is impressive.

When it comes to keeping your subjects in focus, the Z 7 offers highly effective face-detection, and very ‘sticky’ object tracking. It’s a shame though that the vocabulary of the Z 7’s various AF modes is different to what we’re used to in Nikon’s DSLRs. The functionality of subject tracking is different too – unlike the 3D AF Tracking systems in Nikon’s DSLRs, the Z 7 doesn’t provide as easy a method for initiating tracking on a subject, nor changing subjects to track. There’s also no easy way to instantly activate any of the company’s other AF modes with a single button press.

The Z 7 does not offer an equivalent of the excellent Eye-AF modes that we’ve come to appreciate in Sony and Olympus ILCs

Sadly, the Z 7 does not offer an equivalent of the excellent Eye-AF modes that we’ve come to appreciate in Sony and Olympus ILCs. And like Sony’s a7-series and a9 cameras, the Z 7 follows Nikon’s old DSLR live view logic, by stopping down the lens to your shooting aperture (or F5.6 – whichever is wider) all the time. This has the advantage of always offering an accurate preview of depth of field during shooting (at least down to F5.6) but it also starves the camera’s autofocus system of light.

While perhaps not a particularly common use-case, this means that if you’re shooting stopped-down in dull conditions, you will see AF performance drop compared shooting wide-open. We’re really hoping that this is fixed in firmware, to allow the Z 7’s autofocus system to take advantage of the maximum amount of light coming through the lens, before stopping down at the point of exposure. Compounding this issue is the lack of the red-grid autofocus assist when using the company’s own on-camera flashes. The only option is a bright green LED on the front of the Z 7 itself.

In-body stabilization

In a first for Nikon, the Z 7 features in-body image stabilization, which is effective up to a claimed 5EV. With Z-mount lenses, the camera can compensate for movement in five axes (rotation in three dimensions and translational movement up/down and left/right).

With adapted lenses, this drops to three axes, with only rotational movement: pitch, yaw and roll being corrected. When a VR-equipped F-mount lens is attached via the optional FTZ adapter, the 3-axis system hands off pitch and yaw correction to the lens, with the body dealing with roll. As such, a VR-equipped F-mount lens should offer superior stabilization on the Z 7 compared to a DSLR (where roll cannot be corrected).

Our initial impressions of VR performance are very positive with the native Z lenses, in both stills and video shooting. We’ll be thoroughly testing this feature as soon as we get hold of a reviewable camera.

Viewfinder

In on and off-record conversations with Nikon over the years, one thing has always been clear – the company did not feel comfortable replacing optical viewfinders with electronic versions until it could guarantee a truly comparable shooting experience.

It’s reassuring, then, that the Z 7 offers one of the best electronic viewfinders we’ve ever seen. A Quad VGA (3.6m-dot) OLED display and 0.8X magnification (compared to 0.75X in the D850) is augmented with a complex optical assembly within the finder (which includes aspherical elements and fluorine coating). The result is a bright, crisp and extremely detailed viewfinder image, even when shooting in low light.

Unlike the other cameras we’ve seen using comparable viewfinder panels, there’s no difference in perceived resolution when in preview and playback modes or during burst shooting and focusing, suggesting the Z 7 is making better use of its display by always displaying the sensor’s full resolution.

Touch-sensitive rear LCD

Like the D850, the Z 7 has a touch-sensitive rear screen, but the Z7 makes much more extensive use of touch control than any Nikon DSLR, with AF point positioning and all menus now touch sensitive. This includes a revised and now customizable version of the camera’s ‘i‘ menu. The touch panel can also be used in playback mode to zoom in, navigate around and scroll between images.

What’s missing, though, is the ability to use the rear screen as a touchpad to position the AF point when the camera’s held to your eye. This might not sound like a big deal, since the Z7 has the same AF point joystick as the D850 but its absence becomes an issue because of the way the Z 7 handles AF tracking.

The screen itself is lower resolution: with 2.1M dots rather than the 2.36M dots of its predecessor, but that doesn’t quite tell the whole story. The Z 7’s screen is 3:2, rather than the taller 4:3 aspect ratio. This allows the camera to be smaller but is also a match for the camera’s sensor. This means the Z 7 ends up giving the same 1024 x 680 pixel resolution for its live view display as the D850, it just overlays the settings on top of the preview, rather than having a stripe of settings taking up the bottom of the screen.

High-speed shooting

The Z7 isn’t being marketed as a sports and action camera, and it can’t compete with the likes of the Sony a9 for pure speed, but at a maximum burst rate of 9fps (12-bit Raw, with AE locked after the first shot) it offers decent high-speed performance.

Drop to 5.5fps and autoexposure will update between frames, and you’ll get a live preview in between shots, but the buffer depth only allows for around 23 compressed 12-bit Raw files. This isn’t terrible, but don’t go selling your D5s quite yet.

4K video

Nikon’s 4K-equipped DSLRs have a small but quite loyal fanbase among enthusiast videographers, but the Z 7 is Nikon’s first really convincing video camera. Full-width 4K video is possible at up to 30p, and in the DX crop mode (roughly equivalent to Super 35mm in filmmaking terms) full-pixel readout should offer optimal 4K quality. The ‘FX’ mode footage is produced by line-skipping, so will have a resolution and noise cost.

Unlike the D850, the Z 7 can offer focus peaking in 4K mode; we’re hopeful that this can be used at the same time as highlight warnings, but we were unable to test this on our pre-production loaner. As well as 4K, HD video capture is also an option, at up to 120fps.

In video mode, the Z 7’s in-body VR system is augmented by electronic VR, to help further smooth out vibration in hand-held footage.

Perhaps the biggest news for committed videographers is the camera’s 10-bit 4:2:2 ‘N-Log’ output over HDMI. This higher bit depth greatly increases the processing flexibility of Log footage and is a feature matched only by Panasonic’s GH5 models. This and the addition of timecode suggests Nikon is taking video pretty seriously.

Connectivity

The Z 7 comes with Nikon’s latest iteration of its SnapBridge suite of wireless features. These include 802.11ac + Bluetooth, and there’s now an option to Wi-Fi transfer images direct to a PC instead of just a smart device. The WT-7 wireless adapter can still be used.

Nikon Z 7: what you need to know about Nikon’s first mirrorless full-frame ILC

The Nikon Z 7 will be available at the end of September, body-only or in a kit with the new 24-70mm F4, for $ 3299 and $ 3999, respectively. As always, let us know what you think in the comments.

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Nikon’s Z 7 mirrorless camera has full-frame 45MP sensor, in-body image stabilization and hybrid AF

23 Aug

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After years of speculation and a month of teasers, Nikon has lifted the curtain on its new Z-series full-frame mirrorless system. The system will initially comprise two bodies – the flagship Z 7 and midrange Z 6 – alongside three lenses and an F-mount adapter. The Z 7 and Z 6 are physically almost identical, with the main differences being internal: pixel count, number of autofocus points and maximum burst rate.

The Z 7 is a 45.7MP camera with built-in 5-axis image stabilization. It can shoot at up to 9 frames per second and capture 4K video or output a 10-bit 4:2:2 Log video stream over HDMI.

“We aim to become number 1 in full-frame mirrorless cameras in the future”
– Nobuyoshi Gokyu, Senior VP, Imaging, Nikon Inc.

The Z-mount is the largest full-frame mirrorless mount on the market with a diameter of 55mm, allowing it to support lenses as fast as F0.95. The flange distance is just 16mm, the shortest of any full-frame mirrorless system. The Z-mount has a 65% smaller flange and 17% larger diameter than the legacy F-mount, which, fundamentally, has remained more or less unchanged since the 1950s.

The Z 7 is the flagship model and has a lot in common with the D850, both in terms of core features and price. It features a Nikon-designed 45.7 BSI-CMOS sensor, 5-axis in-body image stabilization and a hybrid autofocus system with 493 phase-detect points.

The magnesium alloy body is fully weather-sealed to the same level as the D850. It features an ultra-high-resolution electronic viewfinder with 3.6 million dots and 0.8x magnification, along with a 3.2″ 2.1M-dot tilting touchscreen display on the rear of the camera. On the top plate is an OLED display showing current camera settings. The Z 7 has a single XQD slot, which will support CFexpress via a firmware upgrade in the near future.

The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops and, when used with the optional F-mount adapter, provides 5-axis stabilization for VR-equipped lenses and 3-axis for those without VR.

The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops

The autofocus system features 493 PDAF points with 90% vertical and horizontal coverage. While the camera can detect faces, it lacks an equivalent to Sony’s useful Eye AF. Naturally, the Z 7 offers subject tracking (though it doesn’t behave in the same way as the 3D Tracking system that we enjoy in Nikon’s DSLRs) and it’s sensitive down to -3EV on lenses with apertures of F2 and faster.

The Z 7 can shoot bursts at 9 fps with full autofocus but with exposure locked on the first shot, or at 5.5 fps with with continuous exposure and focus. The Z 7’s buffer fills up after about 18 14-bit compressed and 23 12-bit lossless compressed Raws. Battery life is rated at 330 shots per charge (CIPA) and a battery grip will be available in the future.

Video features are plentiful. The camera captures UHD 4K video at 30p and 24p using the full width of the sensor. When using a Super 35/DX crop of 1.5x, the camera uses all the pixels in that region to produce its video. There are 435 phase-detect points available when capturing video, with both in-body and electronic VR available to reduce shake.

The Z 7 supports 10-bit N-LOG (4:2:2) when output over HDMI as well as the ability to simultaneously output video (8-bit 4:2:0) while recording to the memory card. There’s also live focus peaking, zebra stripes, adjustable AF tracking speeds, time code while in 4K mode.

The Nikon Z 7 will be available body-only
for $ 3399

The Z 7 uses the latest version of the company’s SnapBridge wireless system, which includes 802.11ac Wi-Fi and Bluetooth. Users can transfer JPEGs and Raws direct to a PC and, of course, remotely control the camera from a smartphone. The currently available WT-7A wireless transmitter set is also compatible, allowing Wi-Fi transfer outside the SnapBridge system.

The Nikon Z 7 will be available body-only for $ 3399 or bundled with the 24-70mm F4 S lens for $ 3999 when it ships in late September.

Press Release

NIKON INTRODUCES THE NEW NIKON Z MOUNT SYSTEM, AND RELEASES TWO FULL-FRAME MIRRORLESS CAMERAS: THE NIKON Z 7 AND NIKON Z 6

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of the full-frame (Nikon FX–format) Nikon Z 7 and Nikon Z 6 mirrorless cameras, as well as NIKKOR Z lenses, featuring a new, larger-diameter mount to enable the next generation of ultimate optical performance.

Mirrorless Reinvented

The new Nikon Z mount system is comprised of mirrorless cameras and compatible NIKKOR Z lenses and accessories. This system has been realized through the pursuit of a new dimension in optical performance. It has inherited Nikon’s tradition of quality, superior imaging technology, intuitive operability and high reliability, all innovated from its digital SLR cameras.

At the heart of the Z mount system is the new, larger-diameter mount, which unlocks further possibilities of lens design. The Z mount system will offer a variety of high-performance lenses, including the fastest lens in Nikon history, with f/0.951. Additionally, the new mount adapter will enable compatibility with NIKKOR F mount lenses, adding to the range of choices for photographers.

The letter “Z” represents the culmination of Nikon’s relentless pursuit of ultimate optical performance, and a bridge to a new chapter. It is about redefining possibilities to provide image makers with tools to pursue greater creativity.

Nikon will expand the value of mirrorless cameras through the pursuit of a new dimension in optical performance, and by upholding Nikon’s tradition of quality while responding to the evolution of imaging technology. By providing image makers with stimulating new products, Nikon will continue to lead imaging culture.

Z 7, Z 6 Product Overview

The Z 7 and Z 6 are equipped with a new backside illumination Nikon FX-format CMOS sensor with built-in focal-plane phase-detection AF pixels, and the latest image-processing engine, EXPEED 6.

The high-resolution Z 7 has 45.7 effective megapixels, and supports a standard sensitivity range of ISO 64–25600. In combination with NIKKOR Z lenses, the camera achieves an outstanding level of sharpness and detail, all the way to the edges of the image.

The versatile Z 6 is an all-purpose FX-format camera with 24.5 effective megapixels, and supports the wide sensitivity range of ISO 100–51200. With superior performance at high ISO sensitivities and full-frame 4K UHD video capture with full pixel readout, the Z 6 responds to a variety of needs, such as shooting in dimly lit environments and high-quality movie recording.

These two models combine legendary Nikon reliability and a familiar interface with the benefits of a mirrorless, including rapid FPS, hybrid AF, silent shooting and advanced multimedia capabilities.

Primary Features of the Z 7 and Z 6

  1. Equipped with a new backside illumination Nikon FX-format CMOS sensor with focal-plane phase-detection AF pixels

A backside illumination CMOS sensor without an Optical Low Pass Filter, with focal-plane phase-detection AF pixels, has been adopted for both the Z 7 and the Z 6. The Z 7 has 45.7 effective megapixels, and supports ISO 64–25600 range of standard sensitivities (reduction to the equivalent of ISO 32 and expansion to the equivalent of ISO 102400 is also possible). The Z 6 has an effective pixel count of 24.5 megapixels, and supports a broad range of standard sensitivities, from ISO 100–51200 (additional reduction to the equivalent of ISO 50 and expansion to the equivalent of ISO 204800).

  1. A fast and accurate hybrid AF system with focus points covering approximately 90% of the imaging area

The Z 7 has 493 focus points2 and the Z 6 has 273 focus points2, enabling broad coverage of approximately 90% of the imaging area both horizontally and vertically. This hybrid AF system uses an algorithm optimized for the FX-format sensor, to automatically switches between focal-plane phase-detection AF and contrast-detect AF when focusing to achieve focus. Newly-designed NIKKOR Z lenses take full advantage of this system, providing faster, quieter and with increased AF accuracy than previously possible for both still images and videos.

  1. The new EXPEED 6 image-processing engine for sharp and clear imaging, and new functions that support creativity

The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced.

Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative imaging expression. The effect level is adjustable from 0 to 100.

  1. An electronic viewfinder that utilizes Nikon’s superior optical and image-processing technologies to offer a clear and natural view

The electronic viewfinder adopted for the Z 7 and Z 6 is comfortable and easy to use, comparable to optical viewfinders. Both cameras are equipped with an electronic viewfinder for which an approximately 3690k-dot OLED panel has been adopted. The electronic viewfinder has frame coverage and magnification of approximately 100% and 0.8×, respectively, as well as an approximately 37.0° diagonal viewing angle. It draws on Nikon’s superior optical technologies and image-processing technologies, ensuring a clear and comfortable view, with reduced aberration and minimum eyestrain, even during extended shoots. Furthermore, a fluorine coat that effectively repels dirt has been applied to the eyepiece protection window. In addition, the <i> menu can be displayed in the electronic viewfinder, allowing users to quickly view and adjust a variety of shooting settings, including ISO sensitivity, AF-area mode, and Picture Control, all while looking through the viewfinder.

  1. An ergonomic design unique to Nikon that enables intuitive and familiar operation

The Z 7 and Z 6 have inherited the superior operability that Nikon has cultivated over the years through its development of cameras. The bodies are compact, while boasting a firm grip that is easy to hold, and the sub-selector and buttons such as AF-ON, ISO, and exposure compensation are all placed so that they can be operated swiftly and easily. Additionally, a display panel has been placed on the top plate of the camera, where information about settings can be displayed, similar to high-end digital SLR camera models.

  1. Video functions such as 10-bit N-Log that enables wide dynamic range, and timecoding that respond to professional needs

The Z 7 and Z 6 support recording of not only full-frame 4K UHD (3840 × 2160)/30p movies using the FX-based video format, but also Full-HD/120p movies. Sharper 4K UHD movies are made possible, using the full-pixel readout4. Additionally, Active D-Lighting, electronic vibration reduction, and focus peaking can be used with 4K UHD and Full-HD movie recording. Nikon’s original N-Log color profile can also be used with 10-bit5 HDMI output. The N-Log setting utilizes extensive color depth and twelve-stop, 1,300% dynamic range to record a wealth of tone information from highlights and shadows for more effective color grading. Timecode support makes synchronizing video and sound from multiple devices easier. Additionally, the control ring built into NIKKOR Z lenses can be used to quietly and smoothly adjust settings such as aperture and exposure compensation.

  1. Nikon’s first6 in-camera vibration reduction with approx. 5.0-stop7 effectiveness

The Z 7 and Z 6 are equipped with in-camera vibration reduction (VR). The VR unit provides compensation for movement along five axes. The effects of vibration reduction are equivalent to a shutter speed up to approximately 5.0 stops6. This function can also be used effectively with NIKKOR F lenses, including those not equipped with a VR function, with the Mount Adapter FTZ (sold separately)8.

  1. Other features
  • Same level of strength and durability, as well as dust- and drip- resistance, as the Nikon D850, offered in a compact body
  • A 3.2-in., approximately 2100k-dot touch-sensitive LCD monitor, with a tilting mechanism
  • Silent photography function eliminates shake and noise caused by shutter release,
  • Peaking stack image function9 enables confirmation of the area in focus after shooting using focus shift, which is convenient for focus stacking10
  • High-speed continuous shooting (extended)11 at approximately 9 fps (Z 7) and 12 fps (Z 6) captures fast motion
  • Interval timer photography that makes 8K (Z 7) time-lapse movie creation10 possible
  • An extended low-light metering range12 allows users to easily capture scenes such as the transition from sunset to starry night sky, using aperture-priority auto exposure
  • Built-in Wi-Fi® for direct connection to a smart device using SnapBridge
  • Built-in Wi-Fi® makes the transfer of images and movies to a computer possible
  • Support for existing digital SLR camera accessories such as the EN-EL15/a/b batteries, WT-7/A/B/C Wireless Transmitter (available separately) for transferring images and movies at high speed over a wired or wireless LAN, and radio-controlled/optical controlled Advanced Wireless Lighting, which makes flexible multi-flash photography possible

Development of the MB-N10 Multi-Power Battery Pack

The MB-N10 Multi-Power Battery Pack that is currently in development will hold two EN-EL15b, effectively increasing the number of shots possible and/or movie recording time by approximately 1.8×. It will provide the same level of dust and drip resistance as the Z 7 and Z 6, and will support USB charging using the EH-7P Charging AC Adapter. Information regarding the release of this product will be announced at a later date.

Price and Availability

The Nikon Z 7 will be available September 27 for a suggested retail price (SRP) of $ 3399.95* for the body-only configuration, or for $ 3999.95* SRP as a kit with the new NIKKOR Z 24-70 f/4 S lens. The Nikon Z 6 will be available in late November for the $ 1995.95* SRP for the body only configuration, or for the $ 2,599.95* SRP with the NIKKOR Z 24-70mm f/4 S lens kit. For more information on these and other Nikon products, please visit www.nikonusa.com.

  1. Within interchangeable lenses for Nikon SLR cameras and Advanced Cameras with Interchangeable Lens.
  2. With FX (36×24) image area and single-point AF enabled.
  3. Mid-range sharpness adjustment is only possible at “High quality” movie setting.
  4. DX-based movie format with the Z 7.
  5. Simultaneous recording of 4K UHD movies with 10-bit output to the camera’s memory card is not possible.
  6. Among interchangeable-lens cameras.
  7. Measured in accordance with CIPA standards (using the NIKKOR Z 24-70mm f/4 S, with zoom set at the maximum telephoto position)
  8. The level of compensation achieved when a NIKKOR F mount lens is used is not as high as that of a NIKKOR Z lens
  9. Can only be confirmed using the camera with which focus shift was performed.
  10. Third-party software is required.
  11. Continuous H (extended) in 12-bit RAW, JPEG, or TIFF format.
  12. With interval timer shooting or time-lapse movie recording with silent photography and exposure smoothing enabled.

Nikon Z 7 specifications

Price
MSRP $ 3399 (body only), $ 3999 (w/24-70 F4 lens)
Body type
Body type Rangefinder-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 8256 x 5504
Other resolutions 5408 x 3600 (DX crop), 6880 x 5504 (5:4), 5504 x 5504 (1:1), 8256 x 4640 (16:9)
Image ratio w:h 1:1, 5:4, 3:2, 16:9
Effective pixels 46 megapixels
Sensor photo detectors 47 megapixels
Sensor size Full frame (35.9 x 23.9 mm)
Sensor type CMOS
Processor Expeed 6
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 64-25600 (expands to 32-102400)
Boosted ISO (minimum) 32
Boosted ISO (maximum) 102400
White balance presets 12
Custom white balance Yes (6 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, normal, basic
File format
  • JPEG
  • Raw (NEF, 12 or 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 493
Lens mount Nikon Z
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3.2″
Screen dots 2,100,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.8×
Viewfinder resolution 3,690,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, off
Flash X sync speed 1/200 sec
Continuous drive 9.0 fps
Self-timer Yes (2, 5, 10 or 20 secs)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 100p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types XQD card
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac + Bluetooth
Remote control Yes (via MC-DC2 or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description EN-EL15b lithium-ion battery & charger
Battery Life (CIPA) 330
Weight (inc. batteries) 675 g (1.49 lb / 23.81 oz)
Dimensions 134 x 101 x 68 mm (5.28 x 3.98 x 2.68″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

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Sony claims top spot in full-frame interchangeable lens camera market, launches ‘Be Alpha’ campaign

16 Aug

In a press release issued this morning, Sony announced it has sold more full-frame cameras than any other brand in the US over the past six months, measured both by units sold and by value.

Perhaps more impressively, the company is also celebrating occupying the top position in the overall mirrorless market, a spot it has owned for the past six years thanks to the huge success of the a6000, as well as sales of the a7 series.

That’s all good news for Sony, yes, but it’s probably no coincidence that Sony was the last brand to release a mass-market full frame camera. It’s been a year since Canon’s last entry in the category, and a similar amount of time since Nikon announced the D850. And either way, we don’t recommend getting too invested in brand market share, but that’s just us.

Sony’s also taking the opportunity to launch a brand new ‘Be Alpha’ campaign, which will comprise a number of in-person events in major cities, starting on August 19th in New York City to celebrate World Photography Day. The initiative also includes an ‘Alpha Female’ program, which will include grants, mentorship and events to address “the imaging industry’s well-documented diversity challenges.”

Sony Celebrates No.1 Overall Position in U.S. Full-frame Cameras with Launch of Historic “Be Alpha” Campaign

The Leader in Full-frame Empowers Creators of all Types to Continue to Innovate, to Lead, to Push the Limits, to “Be Alpha”

SAN DIEGO, Aug. 15, 2018 – Sony Electronics, Inc. – a worldwide leader in digital imaging and the world’s largest image sensor manufacturer – today announced that it has overtaken and held the No. 1 overall position in the United States full-frame interchangeable lens camera market in the first half of 2018, in both dollars and units1. In fact, four out of every 10 full-frame cameras sold during this time period have come from the Sony brand1.

Additionally, Sony has announced that within the overall mirrorless market, it has held the No. 1 position in both dollars and units for more than six years2. These strong results can be attributed to the company’s leadership in transitioning the market from older DSLR technology to next-generation mirrorless cameras.

Much of Sony’s recent success has been driven by sales of the acclaimed ?7R III and ?7 III models, as well as the rapid adoption of the ?9 camera amongst professional sports photographers and photojournalists. The brand’s extremely active community has played a major part as well, as evidenced by the strong engagement on key social platforms like Instagram, where the official @SonyAlpha page has just surpassed the coveted one million followers count.

As a celebration of these historic achievements, Sony has announced the launch of its extensive “Be Alpha” campaign that will connect creators of all types with the brand and its ever-growing roster of talented photographers and videographers.

“We’re extremely proud of achieving No. 1 overall share in Full-frame cameras in the US market, as well as holding a strong No. 1 share in the mirrorless market for six years running” said Neal Manowitz, vice president of Digital Imaging at Sony Electronics. “More than anything, we owe this to our community. It is our pleasure to create for you, the true creators. You pushed us to innovate, to change, to continually adapt, and your voice remains core to everything we do.”

Manowitz added, “To ‘Be Alpha’ is to be a leader, to be an innovator, to stand out amongst the crowd. It represents everything we stand for as a brand. Our campaign will celebrate the extended Sony community, while also shining a light on the topics that that we are most passionate about – diversity, conservation, equality and much more.”

Sony’s “Be Alpha” movement will be headlined by a series of community events in major markets throughout North America in 2018 and beyond, beginning with the official launch event on August 19th, World Photography Day, in New York City. The campaign will encourage all creators to get involved by sharing their own “Be Alpha” content on all relevant social platforms while tagging #BeAlpha.

The “Be Alpha” campaign will also feature programs that are designed to foster growth in both the current and next generations of imaging professionals, the most notable of which being the flagship “Alpha Female” program. This multi-tiered, female exclusive program is Sony’s thoughtful response to the imaging industry’s well-documented diversity challenges. It will include a variety of grants and mentorship opportunities for female photographers and videographers, as well as the production of several large-scale industry events. Additional details to be released soon.

All key information regarding Sony’s “Be Alpha” movement, including the campaign launch video, will be hosted at www.alphauniverse.com/BeAlpha. This page will be continually updated with information on new events, content pieces and more.

A variety of additional stories and exciting new content shot with Sony products can be found at www.alphauniverse.com , Sony’s community site built to educate, inspire and showcase all fans and customers of the Sony ? brand.

A chart summarizing Sony’s rapid growth in Full-frame market is included below:
  1. Source: The NPD Group, Inc., U.S. Retail Tracking Service, Detachable Lens Camera, Sensor Size: Full Frame, Based on dollar and unit sales, Jan. – June 2018.
  2. Source: Sony internal historical data sources.
  3. Source: The NPD Group, Inc., U.S. Retail Tracking Service, Detachable Lens Camera, Sensor Size: Full Frame, Based on dollar sales, Jan.- Dec. 2017 vs. Jan.- Dec. 2016.
  4. Source: The NPD Group, Inc., U.S. Retail Tracking Service, Detachable Lens Camera, Sensor Size: Full Frame, Based on adjusted dollar sales, Jan.- June 2018 vs. Jan.- June 2017. Sales are adjusted for 5wk Jan. 2018 vs. 4wk Jan. 2017.

Articles: Digital Photography Review (dpreview.com)

 
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