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Posts Tagged ‘Mark’

Ricoh will let Pentax K-1 owners update their cameras to a Mark II for $550

22 Feb

For a limited time this summer, current Pentax K-1 owners will be able to send their cameras in for service, essentially upgrading them to a Mark II. The service will include a main circuit board swap, and the ‘SR’ logo on the front of the camera will be replaced with a Mark II logo. The upgraded circuit board will add all of the features introduced in the Mark II, such as shooting at up to ISO 819,200 and an updated Pixel Shift mode.

The K-1 upgrade service will cost $ 550 US / $ 690 CAD and will be offered from May 21, 2018 to September 30, 2018.

We do not yet have details of the price or timeframe for upgrading in other regions but we’re told it should be available and we’ll post detailed when we have them.

Ricoh announces an upgrade service for current PENTAX K-1 camera owners

WEST CALDWELL, NJ, February 21, 2018?In conjunction with the announcement of the new PENTAX K-1 Mark II 35mm full-frame digital SLR (DSLR) camera, Ricoh Imaging Americas Corporation today announced an upgrade service for current PENTAX K-1 owners.

The program allows current PENTAX K-1 owners to upgrade their current camera to receive the advanced functions of the new PENTAX K-1 Mark II.

Here is an overview of the upgrade service:

– The upgrade service will be available for a limited time, from May 21, 2018 – September 30, 2018- Upgrade cost: $ 550USD / $ 690 CAD- Cameras will need to be shipped to Precision Camera (US) and Sun Camera (Canada)

The upgrade entails replacing the PENTAX K-1’s main circuit board to add new functions featured in the new PENTAX K-1 Mark II camera. Additionally, the current “SR” logo on the PENTAX K-1 will be replaced with the new PENTAX K-1 Mark II logo.

More details on the program will be released in the upcoming weeks. Please go to www.us.ricoh-imaging.com or email us at conact@us.ricoh-imaging.com for more information.

Articles: Digital Photography Review (dpreview.com)

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

22 Feb

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

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

Official samples:

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

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

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

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

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

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

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

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

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

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

| Pricing and Availability |

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

| Main Features |

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

13. Other features

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

Pentax K-1 Mark II specifications

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

Articles: Digital Photography Review (dpreview.com)

 
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Pentax K-1 Mark II: What you need to know

22 Feb

Pentax K-1 Mark II: What you need to know

The Pentax K-1 was one of the most-anticipated cameras in recent memory. After many starts-and-stops, this full-frame DSLR finally arrived in 2016, much to the delight of Pentax photographers. It offered superb image quality from its 36MP CMOS sensor, 5-axis in-body image stabilization with several tricks up its sleeve, a unique (to say the least) articulating LCD and a body built like a tank.

The K-1 Mark II carries all of that over, but improves upon the K-1’s image quality thanks to a new ‘accelerator unit’ while adding the ability to use the Pixel Shift high-res mode without a tripod. Ricoh also mentions that the Mark II’s AF tracking algorithms have been improved.

Image Quality Enhancements

The K-1 II’s main addition is an ‘accelerator unit,’ which is a pre-processor that sits between the 36MP CMOS sensor and the PRIME IV image processor. Ricoh says that this pre-processor increases the signal-to-noise ratio, thus reducing noise, which implies it’s a a noise reduction process. Ricoh told us that the accelerator unit, which was found on other Pentax models like the K-70, was not ready for the K-1 when it launched.

Thus, the company has increased the top ISO to 819,200 – a big jump from 209,400 on the original model. We’d be shocked if anything near that ISO is usable, seeing how the K-1 looked at 209,400 (hint: poor, like all cameras in its class), but we’ll find out soon enough.

Ricoh says that ‘deep blues’ and ‘lively greens’ are more ‘true to life,’ as well.

The unit does put the hurt on battery life, though, reducing it to 670 shots per charge from 760 shots on the original K-1.

Pentax K-1 II: Shifting Pixels

Pixel Shift is a clever feature first seen on the K-3 II that uses the in-body image stabilization system to create a high resolution image by combining four images that are offset by a single pixel. This process cancels out the Bayer color array used on nearly all digital cameras, which both eliminates color aliasing and artifacts and removes the need to demosaic, thus improving resolution.

Pixel Shift is best-suited for shooting still objects on a tripod. On the K-1 II Ricoh is trying something that sounds a bit crazy, by using the natural shake of your hands to collect the four images needed to combine into a single high-res image. Ricoh calls this called Dynamic Pixel Shift Resolution mode, and we can’t wait to see how well it works.

What hasn’t changed

As mentioned earlier, the K-1 II retains the 36MP full-frame CMOS sensor from its predecessor, along with its PRIME IV image processor, 33-point AF system and 5-axis in-body image stabilization. In addition to its Pixel Shift and shake reduction duties, the IBIS system also allows for automatic horizon correction and AA-filter simulation.

The unique ‘Cross-Tilt’ LCD makes an appearance on the Mark II, complete with LEDs that can shed light on nearby controls. You can compose your photos through a large pentaprism viewfinder with a magnification of 0.70x and 100% coverage (naturally).

The built-in GPS on the K-1 II not only allows for geolocation but is also used for the camera’s Astrotracer feature, which lets you capture celestial bodies without star trails.

We could keep listing the K-1 II’s features, but since they’re identical to those on the original, check out our review of that camera for all the details.

Good News for K-1 owners

Nobody wants to be left out in the cold when their camera gets replaced. Ricoh hasn’t forgotten this, and will be giving current K-1 owners the opportunity to upgrade to the K-1 Mark II for a limited time.

Between May 21st and September 30th (in North America), K-1 owners can ship their cameras to a Ricoh service center, where the logic board will be replaced with the one found in the Mark II. Pricing for the upgrade is set at $ 550 in the US and $ 690 CAD in Canada.

Pricing and Availability

The K-1 Mark II will begin shipping this April. It will be sold body-only for $ 1999 or with the HD Pentax-D FA 28-105mm F3.5-5.6 ED DC WR lens for $ 2399.

If you’re a current K-1 owner, are you thinking about upgrading to the Mark II? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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DPRSplit will help pull more dynamic range from Canon 5D Mark IV Dual Pixel Raw files

14 Feb

RawDigger and FastRawViewer have released the beta version of an application called DPRSplit, designed for Canon 5D Mark IV owners. With DPRSplit, photographers can input a CR2 file from a Canon 5D Mark IV and then extract a second image from it, one with an exposure value that is about one stop lower than the original CR2 image.

This utility works only if the camera’s Dual Pixel Raw mode was enabled when the shots were taken.

Canon explains how this technology works on its website:

The Dual Pixel sensor’s pixels have a dual photodiode construction. This sensor design means the sensor can receive an A and B signals from the subject and to detect any phase differences between the two signals, allowing them to attain focus as part of the Dual Pixel AF system … During Dual Pixel RAW shooting, a single RAW file saves two images into the file. One image consists of the A+B combined image data and the other only the A image data.

Photographers benefit from this technology by using Canon’s Digital Photo Professional software, which enables users to make “microadjustments” to focus, bokeh shift, and reduce ghosting. However, the software doesn’t enable users to extract both images from the CR2 file separately—that’s where DPRSplit comes in.

With this utility, photographers get access to that second frame, which has half the light of the composite image. This means that, in essence, the camera is automatically capturing two shots, bracketed by about 1EV.

Extracted images are saved as DNG files for editing with any software that supports the format, so you can blend the images back together and get about +1EV more usable dynamic range. And since the exposures are captured simultaneously, you don’t have to worry about motion blur in your image. The only potential “issue” is a minor parallax error between the two frames.

DPRSplit beta 0.8 is free to download for Windows 7 or higher and Mac OS X 10.6 through macOS 10.13. As with any beta software, it is possible users will encounter bugs, but if you’re a 5D Mark IV user and you already shoot in Dual Pixel Raw, this one might be worth a shot.

Articles: Digital Photography Review (dpreview.com)

 
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This vlogger is the guy behind last week’s Canon G7 X Mark III hoax

25 Jan
Italian vlogger and designer Breccia, telling his audience to Google Canon G7X Mark III and let him know if they see anything… suspicious.

Last week, much of the photography blogosphere went nuts when a series of “leaked” images purported to show a not-yet-announced Canon G7 X Mark III. The high-res photos immediately spread like wildfire, spurred on to even greater sharability because they seemed to show Canon was planning to put 4K video into the little compact camera.

There’s just one problem: they were 100% fake. And now we can be pretty much certain that the creator of the fake images is Italian vlogger and graphic designer Breccia.

Here are the images Breccia “leaked” to the photography press:

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We decided not to share the “leaked” images on DPReview, as several members of the staff pointed out that they looked like digital renders with several unlikely design choices… even the font wasn’t correct. Sure enough, within 24 hours the photos had been outed as fake, not just because of the unlikely design, but because the “photos” on the LCD screen were grabbed from the Royalty Free photo sharing website Unsplash.

But it wasn’t until this morning that Canon Rumors was able to identify Breccia as their creator, pointing to a vlog posted yesterday in which the YouTuber tells his audience to Google “Canon G7X Mark III” and drop him a comment if they see anything “suspicious.” That, by itself, isn’t exactly iron clad proof, but if you look at the fakes themselves, you’ll see he actually signed them:

This isn’t the first time Breccia has pulled a fake “leaked photos” stunt like this. According to CR, he was also behind a Google UltraPixel hoax from September of 2017, and a PS4 Slim hoax before that. The leaks are supposed to showcase his skill as a graphic designer, and possibly earn him some work… even if they do simultaneously earn him the ire of (in this case) hopeful Canon shooters.

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Video: Watch a YouTuber disassemble his Canon 1D X Mark II to see what’s inside

19 Jan

Photographer and filmmaker Peter McKinnon’s Canon 1DX Mark II recently took a tumble while he was out on an ATV ride. But rather than let this obviously traumatic experience scar him, he decided to use it as an opportunity. Before sending his camera to Canon for repair, he decided to disassembled the $ 6,000 DSLR himself… on video.

The teardown takes viewers through the careful process of removing the camera’s front and back, something McKinnon at one point describes as potentially “the dumbest thing I’ve ever done.” Not to put too fine a point on it, because we like Peter, but we totally agree with him.

Fortunately, everything ultimately ends well. McKinnon successfully disassembles and then reassembles the 1DX Mark II before sending it to Canon for repair. The camera maker even provided McKinnon with a loaner unit to use while his own camera was in the shop.

It’s a neat video that gives you a peek inside the very expensive and advanced DSLR, but we definitely don’t suggest you ever try this at home. As McKinnon notes in the video, disassembling a camera like this voids whatever warranties are covering it. In other words, if you’re curious to see what’s inside, watch this video… don’t try it yourself.

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Canon PowerShot G1 X Mark III review

23 Dec

Introduction

The Canon PowerShot G1 X III is a high-end compact camera with a 24MP APS-C sized sensor, Dual Pixel autofocus and a 24-72mm equivalent F2.8-5.6 zoom lens. It’s Canon’s new flagship for the PowerShot G-series, and the sensor is the largest they’ve ever fitted to a fixed-lens camera. It also has the company’s latest DIGIC 7 processor, Wi-Fi with Bluetooth connectivity, and promises a degree of dust and water resistance.

While sales of compact cameras at the low end continue to evaporate, manufacturers are still churning out premium, high-end models in an attempt to lure enthusiasts and amateurs with deep pockets. The G1 X III is certainly an interesting proposition in this segment – indeed, it’s the only compact on the market with an APS-C sensor and a lens that zooms, and is designed to be weather sealed to boot.

Key Features

  • 24MP APS-C CMOS sensor
  • Dual Pixel autofocus for stills and video
  • DIGIC 7 processor
  • 2.36M-dot electronic viewfinder
  • 3″ fully-articulating LCD
  • 9fps burst shooting (7fps with continuous AF)
  • 1080/60p video recording
  • Wi-Fi and NFC with Bluetooth
  • 200 shot-per-charge battery life (CIPA standard testing)
Processed and cropped to taste in Adobe Camera Raw.
24mm equiv | ISO 125 | F2.8 | 1/1000 sec
Photo by Carey Rose

There are, of course, sacrifices to be made when shoehorning such a large sensor into such a small body. First, the MSRP is pretty high, even for this market segment. Though the lens has a respectable range, its maximum aperture range isn’t exactly impressive, and battery life is just plain bad. Regardless, as an overall package, the G1 X III is likely to attract the interest of a wide variety of photographers.

Compared to…

That the G1 X III is a unique offering makes it difficult to really draw comparisons to other models; regardless, those shopping for a fixed-lens pocketable compact at this price are likely to stumble across the RX100 V and the older RX100 IV. They offer much smaller sensors, but come with similar zoom ranges and brighter maximum apertures for their lenses.

Canon G1 X
Mark III
Sony RX100 V Sony RX100 IV
MSRP $ 1299 $ 999 $ 899
Sensor 24MP APS-C CMOS 20MP 1″-type
stacked BSI CMOS
20MP 1″-type
BSI CMOS
Lens 24-72mm equiv. F2.8-5.6 24-70mm equiv. F1.8-2.8 24-70mm equiv. F1.8-2.8
ISO range
(native)
100-25600 125-12800 125-12800
AF system Dual Pixel on-sensor phase detect On-sensor phase detect Contrast detect
EVF 2.36M-dot 2.36M-dot 2.36M-dot
LCD 3″ 1.04M-dot fully articulating
(720 x 480 RGB)
3″ 1.28M-dot tilting
(640 x 480 RGBW)
3″ 1.28M-dot tilting
(640 x 480 RGBW)
Touchscreen Yes No No
Burst rate with AF 7fps 24fps 5.5fps
Video 1080/60p 4K/30p 4K/30p
Wireless WiFi w/NFC + Bluetooth WiFi w/ NFC WiFi w/ NFC
Battery life (CIPA 200 shots 220 shots 280 shots
Dimensions 115 x 78 x 51 mm 102 x 58 x 41 mm 102 x 58 x 41 mm
Weight 399 g 299 g 298 g

It’s worth noting that there are older options (in some cases, discontinued) that may be of interest. The Panasonic LX100 comes with a 4/3-type sensor and similar zoom range, but only offers 12MP of resolution. Fujifilm’s X70 and Ricoh’s GR II both have 16MP APS-C sensors and are even smaller than the Canon, but both have fixed 28mm-equivalent prime lenses.

In terms of other current cameras that aim to strike a balance between being pocketable and taking decent photos, Panasonic’s LX10 comes with a 24-72mm equiv. F1.4-2.8 lens in front of its 1″-type sensor, and Canon’s own G7 X Mark II has a 24-100mm equiv. F1.8-2.8 lens in front of its 1″-type sensor. And they’re all much cheaper than the G1 X III.

The lens

What’s likely to cause the most consternation for serious photographers considering the G1 X III is the lens. The camera is impressively compact, but as noted earlier, at the expense of its maximum aperture range. This limits the usefulness of the larger sensor, particularly in terms of depth of field control (blurry backgrounds) and low light capability – though you should retain a dynamic range advantage in bright light.

Let’s see how it compares to some of the other zoom-equipped models we’ve mentioned here.

LensEquivalentApertures([“Equivalent focal length (mm)”,”Canon G1 X II”,”Panasonic LX100″,”Canon G7 X II”,”Panasonic LX10″,”Sony RX100 V”,”Canon G1 X III”], [[24,3.84,”Canon G1 X II at 24mm: F3.8″,3.7434,”Panasonic LX100 at 24mm: F3.7″,4.90909090909091,”Canon G7 X II at 24mm: F4.9″,3.8181818181818183,”Panasonic LX10 at 24mm: F3.8″,4.90909090909091,”Sony RX100 V at 24mm: F4.9″,4.5170606663860564,”Canon G1 X III at 24mm: F4.5″],[25,4.224,”Canon G1 X II at 25mm: F4.2″,3.9636,”Panasonic LX100 at 25mm: F4.0″,null,””,4.0909090909090917,”Panasonic LX10 at 25mm: F4.1″,5.454545454545455,”Sony RX100 V at 25mm: F5.5″,null,””],[26,4.8,”Canon G1 X II at 26mm: F4.8″,4.1838,”Panasonic LX100 at 26mm: F4.2″,null,””,4.90909090909091,”Panasonic LX10 at 26mm: F4.9″,6.0000000000000009,”Sony RX100 V at 26mm: F6.0″,5.1623550472983508,”Canon G1 X III at 26mm: F5.2″],[27,5.3759999999999994,”Canon G1 X II at 27mm: F5.4″,4.404,”Panasonic LX100 at 27mm: F4.4″,null,””,5.454545454545455,”Panasonic LX10 at 27mm: F5.5″,null,””,null,””],[28,null,””,4.6242,”Panasonic LX100 at 28mm: F4.6″,null,””,6.0000000000000009,”Panasonic LX10 at 28mm: F6.0″,6.8181818181818183,”Sony RX100 V at 28mm: F6.8″,null,””],[29,null,””,null,””,null,””,6.8181818181818183,”Panasonic LX10 at 29mm: F6.8″,null,””,5.646325832982571,”Canon G1 X III at 29mm: F5.6″],[30,6.144,”Canon G1 X II at 30mm: F6.1″,4.8444,”Panasonic LX100 at 30mm: F4.8″,null,””,null,””,null,””,null,””],[31,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 31mm: F7.6″,null,””,null,””],[32,null,””,null,””,6.0000000000000009,”Canon G7 X II at 32mm: F6.0″,null,””,7.6363636363636367,”Sony RX100 V at 32mm: F7.6″,6.4529438091229379,”Canon G1 X III at 32mm: F6.5″],[34,null,””,5.0645999999999995,”Panasonic LX100 at 34mm: F5.1″,null,””,null,””,null,””,null,””],[37,null,””,5.2848,”Panasonic LX100 at 37mm: F5.3″,null,””,null,””,null,””,7.2595617852633048,”Canon G1 X III at 37mm: F7.3″],[39,null,””,null,””,6.8181818181818183,”Canon G7 X II at 39mm: F6.8″,null,””,null,””,null,””],[40,6.72,”Canon G1 X II at 40mm: F6.7″,null,””,null,””,null,””,null,””,null,””],[41,null,””,5.505,”Panasonic LX100 at 41mm: F5.5″,null,””,null,””,null,””,null,””],[44,null,””,5.7252,”Panasonic LX100 at 44mm: F5.7″,null,””,null,””,null,””,null,””],[45,null,””,null,””,null,””,null,””,null,””,8.0661797614036725,”Canon G1 X III at 45mm: F8.1″],[52,null,””,6.1655999999999995,”Panasonic LX100 at 52mm: F6.2″,null,””,null,””,null,””,null,””],[54,null,””,null,””,7.6363636363636367,”Canon G7 X II at 54mm: F7.6″,null,””,null,””,null,””],[57,null,””,null,””,null,””,null,””,null,””,9.0341213327721128,”Canon G1 X III at 57mm: F9.0″],[70,null,””,null,””,null,””,null,””,7.6363636363636367,”Sony RX100 V at 70mm: F7.6″,9.0341213327721128,”Canon G1 X III at 70mm: F9.0″],[72,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 72mm: F7.6″,null,””,null,””],[75,7.4879999999999995,”Canon G1 X II at 75mm: F7.5″,6.1655999999999995,”Panasonic LX100 at 75mm: F6.2″,null,””,null,””,null,””,null,””],[100,null,””,null,””,7.6363636363636367,”Canon G7 X II at 100mm: F7.6″,null,””,null,””,null,””],[120,7.4879999999999995,”Canon G1 X II at 120mm: F7.5″,null,””,null,””,null,””,null,””,null,””]], {“isMobile”:false})

As you can see, both Panasonic models offer larger aperture diameters at the widest end of their zooms, meaning greater scope for low-light work. Meanwhile, the Canon G7 X II offers more subject isolation and potential for low light image quality once you pass 29mm – all of this is in spite of the fact that the G1 X Mark III’s sensor is the largest, by a fair margin. It speaks volumes to the trade-offs that have been made in getting the G1 X III to fit in your coat pocket.

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Canon PowerShot G9 X Mark II Review

14 Dec

The PowerShot G9 X Mark II is an ultra-compact camera that features a larger-than-average 1″-type CMOS sensor. It serves as the entry-level model in Canon’s Gx-X series, and has an MSRP of $ 529. Being the entry-level model, Canon has given the camera a touchscreen-based interface that’s will be familiar to smartphone owners who are looking to trade up to something better.

The main problems with the original G9 X were performance related. Continuous shooting was slow, especially when using Raw or continuous autofocus, the menus were sluggish and the battery didn’t last for long.

The G9 X Mark II took care of most of the performance problems, due mostly to its new DIGIC 7 processor. The burst rate is faster, buffer larger and interface snappier. While improved, battery life still isn’t great, though an ‘Eco mode’ gives you another 80 shots above the industry-standard CIPA estimate of 235. Canon also added in-camera Raw processing, Bluetooth capability and improved image stabilization for video shooting.

Key Features

  • 20.1MP 1″-type BSI CMOS sensor
  • DIGIC 7 processor
  • 28-84mm equivalent F2-4.9 lens
  • Built-in neutral density filter
  • 3″ touchscreen LCD
  • Up to 8.2 fps burst shooting
  • 1080/60p video capture
  • In-camera Raw conversion
  • Wi-Fi with NFC and Bluetooth

The G9 X II’S 20MP sensor is found on all of Canon’s 1″-type compacts, and is likely the same one found on Sony’s RX100 III. The DIGIC 7 processor is what took care of the original G9 X’s performance issues, and it makes a world of difference. As before, there’s a built-in 3-stop ND filter, with on/off/auto settings. While essentially all cameras now have Wi-Fi, the Bluetooth feature is a nice extra, as it allows for very quick re-pairing between camera and smartphone.

Compared to…

The camera that is most similar to the G9 X Mark II is Sony’s original RX100. It has an older sensor than the G9 X II, but it’s closer in price than its successor, the RX100 II. We’re throwing in the slightly more expensive Panasonic LX10, as well as the G9 X II’s step-up model, the G7 X II, into the chart below.

Canon G9 X II Canon G9 X Sony RX100 Canon G7 X II Panasonic LX10
MSRP $ 529 $ 529 $ 449 $ 699 $ 699
Sensor 20MP BSI-CMOS 20MP CMOS 20MP BSI-CMOS
Lens (equiv) 28-84mm 28-100mm 24-100mm 24-72mm
Max aperture F2.0-4.9 F1.8-4.9 F1.8-2.8 F1.4-2.8
LCD 3″ fixed 3″ tilting
Touchscreen Yes Yes No Yes Yes
Burst rate

8.1 fps (AF-S)
5.3 fps (AF-C)

6 fps (AF-S)
4.3 fps (AF-C)

10 fps (AF-S)
2.5 fps (AF-C)

8 fps (AF-S)
5.4 fps (AF-C)
10 fps (AF-S)
6 fps (AF-C)
Video 1080/60p UHD 4K/30p
Wi-Fi Yes, with NFC+BT Yes, with NFC No Yes, with NFC Yes
Battery life 235 shots 220 shots 330 shots 265 shots 260 shots
Dimensions
(W x H x D)
98 x 58 x 31 mm 98 x 58 x 31 mm 102 x 58 x 36 mm 106 x 61 x 42 mm 106 x 60 x 42 mm
Weight 206 g 209 g 240 g 319 g 310 g

Look at the spec comparisons, there doesn’t appear to be much of a difference between the G9 X Mark II and its predecessor. Same sensor, same lens, same display. That’s because most of the changes are under the hood, which boost its burst rate, battery life (barely) and reduces overall sluggishness.

The G9 X II gets mixed results in terms of spec compared to its peers, though again, it’s an entry-level model. On one hand, it’s the smallest and lightest in the group, with a fast burst rate and Wi-Fi with all the trimmings. Its lens is the real weakness: it’s slow (more on that below) and has a focal range that doesn’t have a lot of reach. While better than on the original model, battery life on the G9 X II is poor, so bring along a spare battery if you’re out for the day.

Lens comparison

Just like ‘equivalent focal length’ that we use throughout the site, equivalent apertures allow you to compare image quality potential across cameras with different sensor sizes by taking sensor size into account. The equivalent aperture figure gives a clear idea of how two lenses compare in terms of depth-of-field. It’s also related to diffraction, which reduces sharpness as the aperture is stopped down. In other words, the higher the F-number, the softer the images will be.

Finally, equivalent aperture also gives an idea of low-light performance, since it also describes how much light is available across the sensor’s area. However, differences in sensor performance mean this can only be used as a guide, rather than an absolute measure.

LensEquivalentApertures([“Equivalent focal length (mm)”,”Sony RX100″,”Sony RX100 III”,”Canon G7 X II”,”Panasonic LX10″,”Canon G9 X II”], [[24,null,””,4.90909090909091,”Sony RX100 III at 24mm: F4.9″,4.90909090909091,”Canon G7 X II at 24mm: F4.9″,3.8181818181818183,”Panasonic LX10 at 24mm: F3.8″,null,””],[25,null,””,5.454545454545455,”Sony RX100 III at 25mm: F5.5″,null,””,4.0909090909090917,”Panasonic LX10 at 25mm: F4.1″,null,””],[26,null,””,6.0000000000000009,”Sony RX100 III at 26mm: F6.0″,null,””,4.90909090909091,”Panasonic LX10 at 26mm: F4.9″,null,””],[27,null,””,null,””,null,””,5.454545454545455,”Panasonic LX10 at 27mm: F5.5″,null,””],[28,4.90909090909091,”Sony RX100 at 28mm: F4.9″,6.8181818181818183,”Sony RX100 III at 28mm: F6.8″,null,””,6.0000000000000009,”Panasonic LX10 at 28mm: F6.0″,5.454545454545455,”Canon G9 X II at 28mm: F5.5″],[29,null,””,null,””,null,””,6.8181818181818183,”Panasonic LX10 at 29mm: F6.8″,null,””],[31,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 31mm: F7.6″,6.8181818181818183,”Canon G9 X II at 31mm: F6.8″],[32,null,””,7.6363636363636367,”Sony RX100 III at 32mm: F7.6″,6.0000000000000009,”Canon G7 X II at 32mm: F6.0″,null,””,null,””],[33,null,””,null,””,null,””,null,””,7.6363636363636367,”Canon G9 X II at 33mm: F7.6″],[34,7.6363636363636367,”Sony RX100 at 34mm: F7.6″,null,””,null,””,null,””,null,””],[37,null,””,null,””,null,””,null,””,8.7272727272727284,”Canon G9 X II at 37mm: F8.7″],[39,null,””,null,””,6.8181818181818183,”Canon G7 X II at 39mm: F6.8″,null,””,9.5454545454545467,”Canon G9 X II at 39mm: F9.5″],[43,8.7272727272727284,”Sony RX100 at 43mm: F8.7″,null,””,null,””,null,””,null,””],[46,null,””,null,””,null,””,null,””,10.90909090909091,”Canon G9 X II at 46mm: F10.9″],[53,9.5454545454545467,”Sony RX100 at 53mm: F9.5″,null,””,null,””,null,””,12.272727272727273,”Canon G9 X II at 53mm: F12.3″],[54,null,””,null,””,7.6363636363636367,”Canon G7 X II at 54mm: F7.6″,null,””,null,””],[65,null,””,null,””,null,””,null,””,13.363636363636365,”Canon G9 X II at 65mm: F13.4″],[66,10.90909090909091,”Sony RX100 at 66mm: F10.9″,null,””,null,””,null,””,null,””],[70,null,””,7.6363636363636367,”Sony RX100 III at 70mm: F7.6″,null,””,null,””,null,””],[72,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 72mm: F7.6″,null,””],[81,12.272727272727273,”Sony RX100 at 81mm: F12.3″,null,””,null,””,null,””,null,””],[84,null,””,null,””,null,””,null,””,13.363636363636365,”Canon G9 X II at 84mm: F13.4″],[94,13.363636363636365,”Sony RX100 at 94mm: F13.4″,null,””,null,””,null,””,null,””],[100,13.363636363636365,”Sony RX100 at 100mm: F13.4″,null,””,7.6363636363636367,”Canon G7 X II at 100mm: F7.6″,null,””,null,””]])

That pink line represents the G9 X II and, as you can see, it quickly ascends to the top of graph. Once you hit around 35mm, the equivalent aperture is ~F7.6 equivalent, which is getting into diffraction territory. At its worst the G9 X II is about a stop slower than the RX100, which most likely gives the latter a slight image quality advantage. The step-up model from the G9 X II, the G7 X II, is roughly 1.5 stops faster. This loss of low light capability and potential for control over depth-of-field is the price you pay to keep the camera so pocketable.

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Shooting with the Olympus OM-D E-M10 Mark III in Moab

14 Dec

Moab, Utah is known for its unique desert landscapes as well as a multitude of adventurous outdoor activities. We traveled there recently with photographer Scott Rinckenberger, no stranger to adventure himself, for an action-packed weekend of rock climbing and mountain biking – with a sunrise helicopter ride for good measure.

The Olympus OM-D E-M10 III came along on the trip too, putting its 5-axis image stabilization and 4K video capture capabilities to work. Take a look at all of the dizzying heights we took it to in the video above.

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Olympus OM-D E-M10 Mark III


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Canon PowerShot G1 X Mark III added to studio test scene comparison

09 Dec

Testing of the Canon G1 X Mark III is well underway, inside of the studio and out. We’ve just added it to our test scene comparison tool, where you can take a look at its performance side-by-side against peers like the Sony Cyber-shot RX100 V.

See the Canon PowerShot G1 X Mark III in our studio scene comparison tool

See our Canon PowerShot G1 X Mark III sample gallery

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