RSS
 

Posts Tagged ‘Micro’

Olympus introduces 2X teleconverter, updates Micro Four Thirds roadmap

26 Jan

Olympus has announced its new 2X teleconverter, the MC-20, which is compatible with the company’s 40-150mm F2.8 Pro and 300mm F4 Pro lenses, as well as the 150-400mm F4.5 that will be arriving in 2020. Like Olympus’ pro lenses, the MC-20 is weather-sealed and should function down to -10°C/+14°F, according to the company. The MC-20 will be available this summer.

In addition, Olympus has released an updated Micro Four Thirds lens roadmap. There aren’t any dates on the roadmap, and the only lens called out is the 150-400mm F4.5 TC1.25x IS Pro, which is coming in 2020. The company is planning to release new zoom and fast prime Pro lenses as well as less expensive super telephoto and ‘high magnification’ (presumably travel zoom) lenses.

What Micro Four Thirds lenses are you hoping to see next? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Olympus introduces 2X teleconverter, updates Micro Four Thirds roadmap

Posted in Uncategorized

 

Sharp reveals 8K Micro Four Thirds camera prototype at CES 2019

10 Jan

Sharp made a surprising announcement during CES 2019 this week: it’s developing an 8K Micro Four Thirds camera, currently referred to as the ‘8K Video Camera.’ YouTuber Kinotika published a short hands-on video (above) with the prototype camera, but details are slim at this time. Sharp reportedly told CES attendees that it will reveal the model’s official specs in Q2, possibly at NAB 2019.

According to Kinotika citing Sharp employees at CES, the 8K Video Camera will support 8K video recording at 30fps in H.265 codec. The model, at least at this point in the development process, is also expected to offer a single UHS-II SD card slot, sensor stabilization, and a large 5-inch flip-out display.

Sharp reportedly stated that it is working on a 60fps recording option for a lower resolution, possibly 1080p. Other features present on the prototype include a full-size HDMI port, audio-in, USB-C, a microphone input, and a headphone jack. Assuming nothing changes by the time an official announcement takes place, the ‘8K Video Camera’ will have a sub-$ 5,000 price.

Unfortunately, the prototype wasn’t functional and additional details aren’t available.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sharp reveals 8K Micro Four Thirds camera prototype at CES 2019

Posted in Uncategorized

 

The Insta360 Titan is an 11K 360-degree camera with 8 Micro Four thirds sensors

09 Jan

Insta360 has most user types of 360-degree cameras covered, offering cameras from the consumer-level One X all the way up to pro-level 8K models. However, it seems there is demand for even more powerful cameras with higher resolutions.

With the new 11K Titan camera Insta360 is catering to VR cinema professionals with the highest demands. The camera features eight lenses with Micro Four Thirds sensors, which is the largest sensor size on any stand-alone VR camera.

The camera supports 10-bit color and in video mode can shoot 11K or 10K 3D at 30 fps, 8K at 60 fps or 5.3K at 120 fps. In still mode it can capture 11K 360-degree images in 3D and monoscopic.

To cope with the amounts of image data that is captured, each lens/sensor combo requires a high-speed SD card. Gyroscopic metadata for Insta360’s FlowState stabilization and low-resolution proxy files, which can be used for quicker editing with Insta360’s Adobe Premiere Pro plug-in, are stored on an additional card.

In addition to the company’s very efficient FlowState stabilization, the Titan also supports Insta360’s Farsight radio technology which allows for remote control of the camera and was first introduced with the Pro 2 model. The CrystalView conversion tool can be used to play back and watch the camera’s 11K video output.

This much technology does not come cheap, of course, and priced at $ 14,999, the Titan is squarely aimed at the VR professionals camp. If you think the camera could be a profitable investment for your business, you can reserve one now with a $ 150 deposit. Shipment is expected for April. If you’d like to get an idea of the image quality the camera is capable of, head to the Insta360 Youtube channel for resolution, low-light and stabilization comparisons.

This Is Titan: Insta360 Opens Reservations on 11K, Eight-Lens VR Cinema Camera

Insta360 today opened reservations for the Insta360 Titan, an eight-lens cinematic VR camera that captures 360 photos and video at up to 11K resolution.

The Titan uses eight Micro Four Thirds (MFT) sensors, the largest sensors available in any standalone VR camera. These sensors maximize image quality, dynamic range, low-light performance and color depth, raising the bar for realism in high-end professional VR capture.

Insta360 will show the new camera at the CES show in Las Vegas this week. The Titan is set to ship in April, following a pilot program with select filmmaker partners.

Creators can reserve their Titan here today to secure a priority shipment in the first batch.

Introducing Insta360 Titan: https://youtu.be/9VhxtmV7mZQ

Turn it up to 11.

The Titan is the first standalone 360 camera ready to record in 11K. Key shooting modes include 11K at 30 FPS, 10K 3D at 30 FPS, as well as 11K 360 photos in 3D and monoscopic formats.

Additional shooting modes include 8K at 60 FPS and 5.3K at 120 FPS.

A sensor so good you’ll want eight.

360 cameras use an array of sensors to cover every direction of the action. Most use small sensors on par with those found in smartphones or action cameras — useful for installing in a smaller camera body but not for maximizing image quality.

The Titan bucks this trend, sporting eight optimized Micro Four Thirds sensors that combine the benefits of a large sensor area with a relatively compact design. These high-performance sensors are the key to achieving a cinematic image quality that’s been unattainable to VR creators until now.

Natural light and color.

The Titan supports shooting in 10 bit color, allowing for billions of color combinations and extreme color accuracy, while its high dynamic range lets creators capture natural lighting and low-light scenes to achieve an unparalleled realism in VR.

Make your move with FlowState Stabilization.

The Titan uses Insta360’s signature onboard FlowState Stabilization technology, allowing for gimbal-like 9-axis stabilization with no accessories or added effort from the user. Onboard stabilization lets creators achieve the stunning dynamic shots necessary to tell a compelling story in VR.

Not in the shot. But still in the action.

The Titan comes standard with Insta360’s Farsight live monitoring system, consisting of a transmitter and a receiver that can be easily attached to a phone or tablet.

Using Farsight, VR filmmakers can easily preview and control their shoots remotely. VR directors used to have to yell “action” and then jump behind a tree to avoid ruining the shot. Farsight saves them the sweat.

Deliver what you shoot.

Ultra-high-res VR content presents a distribution challenge. Most playback systems aren’t ready to decode immersive video at higher than 4K, let alone 11K.

CrystalView, Insta360’s proprietary playback tech, lets creators deliver what they really shot. It renders in real time exactly the part of a video a viewer is watching – with no computing power wasted on displaying what’s behind their head — so that even mainstream smartphones can play back full-quality Titan content.

Reservations open now.

Starting today, VR filmmakers can reserve their Insta360 Titan and be among the first owners when the camera ships this April.

The Titan is priced at $ 14,999 USD, and the reservation is confirmed with a fully refundable deposit.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The Insta360 Titan is an 11K 360-degree camera with 8 Micro Four thirds sensors

Posted in Uncategorized

 

Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

05 Dec

The post Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained appeared first on Digital Photography School. It was authored by Kunal Malhotra.

1 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

‘DSLR Camera, Full-Frame, Crop Sensor’- Just 3 terms which are prevalent in virtually every discussion involving photography. The two terms in use to classify sensor sizes of a DSLR camera are ‘Full-Frame’ and ‘Crop-Sensor.’ A Full-Frame camera contains a sensor size equivalent to a 35mm film format whereas a Crop-Sensor camera has a sensor size smaller than a full-frame sensor or a 35mm film format.

Micro-Four-Thirds (4/3) is a relatively new format (and term). First introduced around 2008, this sensor is slightly smaller and compact in nature. However, owing to a variety of factors, this format is now considered almost equal to, if not better than, the Crop Sensor format.

Apart from the physical size difference, there are several other points of difference between a full-frame sensor, a crop-sensor, and a micro-four-thirds sensor. Let’s take a look at a comparison between them under the following characteristics, to get an accurate understanding of their differences.

Crop Factor

As mentioned above, a full-frame camera has a 35mm sensor based on the old film-format concept. Whereas, a crop-sensor (also called APS-C) has a crop factor of 1.5x (Nikon) or 1.6x (Canon). Micro-Four-Thirds are even smaller sensors having a crop factor of 2x.

This crop factor also directly affects our field of view. Simply put, an APS-C sensor would show us a cropped (tighter) view of the same frame as compared to a full-frame sensor, and a Micro-Four-Thirds sensor would show an even tighter (more cropped) output of the same frame.

2 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

LEFT: Photo clicked using a Full-Frame camera. CENTER: Photo clicked using a Crop-Sensor camera. RIGHT: Photo clicked using a Micro-Four-Thirds camera.

Focal Length

The focal length obtained by different sensors is also directly associated with crop-factor. The focal length measurement of any given lens is based on the standard 35mm film format. Whenever we use any crop-sensor camera, its sensor crops out the edges of the frame, which effectively increases the focal length. However, this is not the case with any full-frame sensor, as there is no cropping involved with a full-frame field of view.

For example, in the Nikon eco-system, a crop-sensor camera such as the D5600 has a ‘multiplier factor’ of 1.5x. Thus, if I mount a 35mm f/1.8 lens on my Nikon D5600, it would multiply the focal length by 1.5x, thus effectively giving me a focal length output of around 52.5mm. If you mount the same lens on a full-frame Nikon body such as the D850, it gives an output of 35mm.

Similarly, if you mount a 35mm lens on a Micro-Four-Thirds sensor, which has a crop factor of 2x, it effectively doubles the focal length obtained to around 70mm.

3 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

LEFT: Photo clicked at 35mm on a Full-Frame camera. CENTER: Photo clicked at 35mm on a Crop-Sensor camera. RIGHT: Photo clicked at 35mm on a Micro-Four-Thirds camera.

Depth of Field

Similar to focal length, the aperture or f-stop measurement of a lens is based on the full-frame 35mm format. Similar to focal length, a ‘multiplier effect’ gets applied to the f-stop when using crop-sensors. As we know, the f-stop or aperture is the singular most important factor that affects the Depth of Field.

Thus, a Micro-Four-Thirds camera gives us less (shallow) Depth of Field at similar focal lengths when compared with a full-frame camera. For example, an image shot at f/1.8 on a Micro-Four-Thirds camera would give an output similar to an image shot at f/3.6 on a full-frame camera, and f/2.7 on a crop sensor camera. This is assuming that the effective focal length, and other shooting conditions, are the same.

Low Light Performance

Generally, full-frame cameras provide not only better low light & high ISO performance, but a better dynamic range. These factors combined eventually produces a much better image output than any crop-sensor camera can achieve.

Full-frame cameras are capable of capturing the most light and will almost always out-perform an APS-C or Micro-Four-Thirds camera body under low-light conditions. Micro-Four-Thirds sensors don’t perform well under low-light conditions where the ISO needs to be cranked up to say, above 2000.

For these reasons, despite full-frame camera kits being expensive, bulky and heavy to carry around, they are still industry-standard and the preferred cameras for virtually all professional photography work.

Conclusion

Thus, while full-frame DSLR’s remaining the industry standard even today, we cannot ignore the undeniable advantages of the Micro-Four-Thirds cameras. Micro-Four-Third cameras, such as the Olympus EP-5 & the Panasonic GH5, are affordable and easy to carry around. Thus, enabling a much larger group of people (who are hobbyists and enthusiasts but not professionals) to have access to DSLR-like shooting conditions at a fraction of the price.

Ultimately, factors such as your budget, use and other criteria define whether you choose either Full-Frame, Crop-Sensor, or Micro-Four-Thirds cameras.

Read more info on sensors here.

The post Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained appeared first on Digital Photography School. It was authored by Kunal Malhotra.


Digital Photography School

 
Comments Off on Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

Posted in Photography

 

Sigma unveils 56mm F1.4 DC DN lens for Sony E and Micro Four Thirds

26 Sep

Sigma has announced the 56mm F1.4 DC DN lens for Micro Four Thirds and Sony E mounts. The compact 56mm lens becomes the sixth DN lens for mirrorless cameras and will make a handy portrait lens on both systems.

On Micro Four Thirds, the lens will behave as being equivalent to a 112mm F2.8 lens on full frame. On Sony E mount, it will act as an 84mm F2.1 equivalent. In both instances it should lend itself to offering a good degree of control over depth-of-field and, if previous Sigma pricing for the DN range is anything to go by, should be a sensibly-priced option.

The lens will be part of Sigma’s ‘C’ (for Contemporary) range of lenses which aim to strike a balance between quality and price.

The Sigma 56mm F1.4 DC DN is likely to be a keenly-priced portrait lens for both Micro Four Thirds and Sony E mount.

Press Release:

Sigma Unveils Five New Global Vision Lenses

Sigma’s 28mm F1.4 DG HSM Art, 40mm F1.4 DG HSM Art, 56mm F1.4 DC DN Contemporary, 70-200mm F2.8 DG OS HSM Sports, and 60-600mm F4.5-6.3 DG OS HSM Sports will make their public debut at Photokina 2018

Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.

Sigma 28mm F1.4 DG HSM Art
The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.

Full technical specifications are available here: https://bit.ly/2DdAiVE. Pricing and availability will be announced later.

Sigma 40mm F1.4 DG HSM Art
The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.

Full technical specifications are available here: https://bit.ly/2QHliC5. Pricing and availability will be announced later.

Sigma 56mm F1.4 DC DN Contemporary
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.

Full technical specifications are available here: https://bit.ly/2PLuSTh. Pricing and availability will be announced later.

Sigma 70-200mm F2.8 DG OS HSM Sports
One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.

Full technical specifications are available here: https://bit.ly/2DlyWbE. Pricing and availability will be announced later.

Sigma 60-600mm F4.5-6.3 DG OS HSM Sports
The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $ 1999 USD.

Full technical specifications are available here: https://bit.ly/2xmASv1.

Sigma 56mm F1.4 DC DN specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 56 mm
Image stabilization No
Lens mount Micro Four Thirds, Sony E
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 10
Groups 6
Special elements / coatings SLD element
Focus
Minimum focus 0.50 m (19.69)
Maximum magnification 0.14×
Autofocus Yes
Motor type Stepper motor
Full time manual No
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 280 g (0.62 lb)
Diameter 67 mm (2.62)
Length 60 mm (2.34)
Sealing Yes
Filter thread 55 mm
Hood supplied Yes
Tripod collar No
Other
Notes Weight and dimensions for Sony mount

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma unveils 56mm F1.4 DC DN lens for Sony E and Micro Four Thirds

Posted in Uncategorized

 

Some of the Pros of Using Micro Four-Thirds Cameras for Wildlife Photography

11 Jul

Micro four-thirds (MFT) cameras have been on the market for 10 years now and have grown to be a preferred option for professionals and amateurs alike. The small camera bodies (you might even say tiny) house high-quality features including high dynamic range, high ISO sensitivity, and 16mp (or greater) sensors.

As the MFT format has gained popularity a range of professional-quality lenses has also been developed. I have been shooting the Olympus Em5 and Em5II since they came on the market in 2013 and 2015 respectively. Throughout my travels shooting wildlife across the U.S., I have been shooting this system with great results.

There are many aspects that micro four-thirds cameras great for wildlife as well as a few drawbacks. I will walk you through my impressions of this system for wildlife photography, both the pros and the cons.

humpback whales - Pros and Cons of Using Micro Four-Thirds Cameras for Wildlife Photography

I took this image of bubble-net feeding Humpback Whales with an Olympus OMD E-M5. All of the images featured in this article were captured using the MFT system.

Intrinsic Advantages (Pros)

The micro four-thirds system has some advantages for wildlife photographers due to the nature of its sensor and technology. These “intrinsic advantages” as I’m calling them are inherent to the system and can assist in your wildlife photography. In the next few sections, I will walk through how a 2x 35mm equivalency, quiet camera, high ISO range, high shutter speed, and high-resolution.

I will also review some features specific to the Olympus E-M5 Mark II system that you may find beneficial.

Micro four-thirds for wildlife - caterpillar

Here I have used MFT to photograph all forms of wildlife. From coastal brown bears to insects.

Pro – Get Closer with the 2x Crop Factor

Everyone who shoots wildlife photography wants to get closer to their subject and this is one way in which micro four-thirds sensors shine. When talking about how a sensor’s size affects the final zoom of your lens, the photography industry standardizes to “35mm equivalency”.

Without diving into the ins-and-outs of that means, here’s the bottom line: if you have a 100-300mm lens the micro four-thirds system effectively makes it a 200-600mm lens. The camera intrinsically doubles the length of your telephoto lens – you can likely appreciate how that doubling of focal length will help you get your wildlife shots!

Micro four-thirds for wildlife - portrait of a deer

2x equivalency is a big deal! You can get closer to wildlife with your enhanced telephoto lens.

small bird with a berry - Micro four-thirds for wildlife

As an avid birder, I appreciate the 2x equivalency to get closer to small birds.

Pro – High Maximum Shutter Speed

The micro four-thirds system is capable of really fast shutter speeds. As a wildlife photographer, it can give you a leg-up on fast-moving animals such as small birds or even insects.

The Olympus OMD E-M5 II is capable of shutter speeds up to 1/8000th of a second! In bright lighting conditions, you can use the fast shutter speed to stop water droplets of an animal walking in a river or the fast pulse of the wings of a hummingbird.

hummingbird in flight - Micro four-thirds for wildlife

Fast shutter speeds will help you stop the wings of a bird even as quick as that of a hummingbird’s!

Pro – 40MP High-Resolution Mode

A feature specific to the Olympus OMD E-M5 II is the 40-megapixel high-resolution mode. Sensor shifting-technology allows the camera to increase the resolution of the image.

One restriction of this process is the subject or animal has to be completely still. However, if you know you have the right conditions and a shot for which you need high resolution, you will find this mode convenient if your goal is to make large prints later.

owls in a tree - Micro four-thirds for wildlife

These great horned owl chicks were sitting so still that I was able to use the high-resolution feature of the Em5II to create a 40-megapixel image of them.

Pro and Con – ISO, and Light

The micro four-thirds system is capable of using high ISO settings to boost your camera’s sensitivity to light. However, high ISO values can create image noise (graininess in the image), and this is one area where the MFT systems fall much shorter than full-frame systems and DSLRs.

You will find that you can comfortably shoot up to ISO 800 or 1600 and be able to post-process out the noise. However, at ISO 1600 you will notice the noise if you crop the image, so be aware of that. Low-light conditions are common for wildlife photography, so consider that this system will not give you the performance of full frame cameras.

great horned owl eyes closed - Micro four-thirds for wildlife

This great horned owl was photographed in low light, so I needed to increase my ISO to capture it.

Pro – A Stealthy Camera

This camera contains no mirrors or moving parts inside the camera – every process occurs digitally. That makes the camera extremely quiet when you press the shutter button and it will not disturb the wildlife you are watching. This helps you keep the animal in range and also be an ethical wildlife photographer that does not negatively impact the wildlife you are shooting.

dragonfly damselfly - Micro four-thirds for wildlife

A quiet camera is very important for capturing skittish animals such as this damselfly!

Pro – Flexibility

This camera can provide incredible flexibility to your kit. In the next sections, I will review some features that I find helpful for wildlife photography.

Pro – Light Body

All of the mirrorless cameras are light which makes them ideal to transport. This is due to the lack of moving parts within the camera such as mirrors – which allow the cameras to be smaller. The lenses native to micro four-thirds cameras are also generally light.

Reiterating my point about 2x equivalency, you can get a 600mm equivalent telephoto lens that only weighs a few pounds. As a traveling wildlife photographer, you will appreciate the light weight in your backpack, carry-on luggage, or strapped around your neck.

micro four-thirds for wildlife - olympus camera

This is the Olympus Em5II body and Lumix 100-300 that I use for wildlife photography. You can see how small the body and lens is!

Pro – Fast Autofocus

The autofocus system on this camera is very fast and is useful for inflight shots of birds and general wildlife photography. Upgrades to the autofocus systems in the Olympus E-M5 II have provided accurate focus points giving you the ability to target an exact spot in your frame to focus.

One disadvantage is I find that the autofocus hunts in low-contrast situations. So you should be prepared to manually focus in low-light shooting conditions such as at dusk or in a heavy forest canopy.

micro four-thirds for wildlife - eagle in mid-air

A fast autofocus system will help you a lot with in-flight images of birds.

crane in flight - micro four-thirds for wildlife

I relied on the autofocus to capture this sandhill crane as it flew by.

Pro – High Resolution

Almost all micro four-thirds cameras come with a high-resolution (16mp or greater) sensor. The 16mp sensor on the Olympus E-M5 II gives plenty of resolution for enlargements. This is useful for printing and also gives you the ability to crop a shot and maintain sharpness.

I have made canvas prints up to 36” with images from this camera and found the resolution was ample for that as long as you have a sharp shot.

owl in Lightroom - micro four-thirds for wildlife

Here is a 1:1 crop of an image of a great horned owl. You can see that the image maintains decent sharpness even at a large crop.

Pro – Native Lenses and Adapting Lenses

If you are willing to shoot with manual focus it is possible to adapt nearly any brand of telephoto lens (Canon, Nikon, Sigma, etc.) to your MFT camera using an adaptor. This is thanks to the small flange distance of the MFT format. I have had success adapting long telephotos, old Olympus OMD lenses, and even old screw-mount lenses such as a Takumar 35mm that I have.

Why does that matter? Adaptors are cheap ($ 25 – $ 50 generally) and allow you to utilize glass that you may already own bringing down the price-point of your system.

olympus camera and adapted lens - micro four-thirds for wildlife

You can adapt almost any lens to the MFT bodies. Although I do not use this Takumar portrait lens for wildlife, it shows off the ability to adapt even a screw-mount lens such as this one built in the 1960s.

Pro – Sealed Bodies and Lenses

The body of the Olympus E-M5 Mark II is sealed from dust and water. Although that is not the case with all MFT cameras, as long as you do your research you’ll find other camera bodies that are sealed and well-built too.

This is invaluable to a wildlife photographer! I am sure you can think of times that you needed to shoot in the rain, the dust, or perhaps the mist of a waterfall. Having a sealed body will protect your camera and investment.

breaching whale - micro four-thirds for wildlife

On a boat or on land, you need to be able to count on a sealed body to protect your camera.

The Bottom Line

You may have found the features above appealing for your photography needs, so let’s look at the bottom line and the value-to-cost of this system.

You can find micro four-thirds cameras starting at $ 200 and going up to about $ 1,000. For those prices, you are getting a camera capable of shooting high-resolution images with excellent quality. With practice and patience, you can take beautiful images of wildlife and not break your back (or your bank) while doing it.

As I like to say, “pixels are cheap”, so I hope you make lots of them photographing wildlife with a micro four-thirds system.

The post Some of the Pros of Using Micro Four-Thirds Cameras for Wildlife Photography appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Some of the Pros of Using Micro Four-Thirds Cameras for Wildlife Photography

Posted in Photography

 

hähnel introduces Modus 600RT flash for Micro Four Thirds

15 May

Battery and accessory brand hähnel has extended its range of radio-triggered Modus 600RT flash units with a model for Micro Four Thirds cameras. The unit can be used directly in the hotshoe as a standalone flash, or will work within a group of flashes as a TTL commander or a slave using radio or optical communication.

The company already makes this model speedlight for Canon, Fujifilm, Nikon and Sony systems, and is adding Olympus and Panasonic cameras with this new model.

Although the Modus 600RT shares its basic design with the Godox TT685 flash, and much of its specification with the Godox V860II, hähnel claims its flash has significant advantages that account for the difference in price. A spokesperson told DPReview that the build quality of the 600RT is improved, and that hähnel is especially proud of its firmware updates and customer service—both before and after purchase.

The Modus flashes also feature Digital Channel Matching that locks the transmitter and receiver together once they are connected, to reduce the possibility of interference. Another major difference, according to hähnel, is the quality of the supplied lithium-ion block battery, which is injected with silicone to insulate the circuits and to provide improved shock absorption. The company says these hähnel Extreme li-ion batteries have a longer life and retain their charge for longer than competitors’ equivalents.

The Modus 600RT has a guide number of 60m/197ft at ISO 100, and can produce 600 full-power bursts per charge with only a 1.5-second delay for recycling.

With a transmitter and receiver built-in, the flashes work as both commanders and slaves in groups of other hähnel Captur-compatible guns as well as in combination with manufacturers’ original and third party units. A Viper TTL radio controller can be used from the hotshoe to control single guns or up to three groups of guns at a range of 100m/330ft, and can operate in full TTL, manual or strobotic modes with DCM. The zoom head offers coverage for 20-200mm lenses and high speed synch mode allows use with shutter speeds as short as 1/8000sec.

The hähnel Modus 600RT for micro four thirds is available now and will cost £270/$ 250/€250 including a Viper transmitter, hähnel Extreme li-ion battery and charger. For more information, read the full press release below or visit the hähnel website.

Press Release

{PressRelease}

hähnel announce launch of MODUS 600RT Speedlight for Micro Four Thirds

Following on from the very successful launch of the MODUS 600RT Speedlight for Canon, Nikon, Sony & Fuji, hähnel have now announced availability of the MODUS for Micro Four Thirds (Panasonic & Olympus).

The staggeringly powerful hähnel Extreme Li-Ion battery provides the power for the MODUS and beats the speed of AA-powered speedlight’s hands down. With a GN of 60, the MODUS will handle over 1000 shots at ½ power and over 600 shots at full power.

Rather than waiting the normal 4-6 seconds which normal Speedlight’s would require at full power, the MODUS 600RT has fast re-cycling in abundance at just 1.5 seconds. The built-in wireless receiver/transmitter offer TTL, manual and multi modes and high-speed sync supports up to 1/8000 of a sec.

The unique wireless connectivity really steps into its own when paired with the Viper TTL Wireless Flash Trigger. Use them together and control up to 3 separate groups of flash guns in either TTL, manual or Multi (Stroboscopic) mode. DCM channel matching and over 100m range makes the Viper TTL the perfect partner for this new speedlight.

With a long-standing reputation for high- quality accessories, it is no surprise that the MODUS has received ‘Best Value Accessory’, ‘Best Accessory’ and ‘Gear of the Year – Best Flashgun’ accolades from Digital Photographer, Digital Camera and N-Photo magazines since launched.

Stock available from Monday 28th May.

MODUS 600RT WIRELESS KIT FOR MICRO FOUR THIRDS RRP £269.99

{/Pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on hähnel introduces Modus 600RT flash for Micro Four Thirds

Posted in Uncategorized

 

The Yongnuo YN43 is a Micro Four Thirds smartphone clip-on camera with Canon lens mount

11 May

Yesterday, affordable photography accessory maker Yongnuo unveiled a 60mm F2 macro lens, and they’ve also taken the wraps off a YN43 camera module, a clip-on camera for smartphones in the spirit of Sony’s QX-cameras, the Olympus Air, DxO One, and the Kodak PixPro models.

Unfortunately, at this point there are no specifications available on the site. Looking at the images and model name it’s fair to assume the device will feature a Micro Four Thirds sensor. Curiously the lens mount appears to be of the Canon variant, though. On the product images we can see a Yongnuo 14mm F2.8 wide angle lens for Canon mounted to the module. The choice of lens mount is likely due to the fact that Yongnuo only makes lenses for Canon and Nikon, but no Micro Four Thirds glass.

The camera is pictured with an Apple iPhone and an app is already available in the App Store which suggests it will definitely work with Apple devices, but one would assume it’ll be compatible with at least the most popular Android phones as well.

With its unusual sensor/lens mount combination the YN43 looks like a slightly odd product to put it mildly. It also doesn’t bode well that all the similar products mentioned above have disappeared from the market and the built-in cameras in smartphones have improved drastically, almost nullifying the need for bulky clip-on modules.

That said, Yongnuo is known for its budget pricing and while no price information is available yet for the YN43 we’d expect it to be quite affordable. This could make it worth a closer look to anyone who has a few Canon lenses lying around and likes tinkering with photo equipment.

We’ll let you know as soon as more information and specs become available.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The Yongnuo YN43 is a Micro Four Thirds smartphone clip-on camera with Canon lens mount

Posted in Uncategorized

 

A closer look at the Sigma 16mm F1.4 DC DN for Micro Four Thirds

12 Jan

We’ve got a pair of Sigma 16mm F1.4 DC DN lenses in the office: one for Micro Four Thirds and the other for Sony E-mount. In this article we have some impressions of the MFT version, as well as some other lenses in this class worth considering.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9513055220″,”galleryId”:”9513055220″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The 16mm F1.4 acts as a 32mm equivalent lens on the Micro Four Thirds platform. It’s an interesting focal length to end up with: not quite 28mm equiv., which many people would consider the gateway to wide-angle, but also noticeably wider than the near-normal of 35mm equiv. I didn’t expect it to make any difference but found myself constantly fighting against too much stuff creeping into the edges of the frame in a way that I don’t with a 35mm.

In terms of handling, I felt the 16mm worked best when mounted on the larger Micro Four Thirds camera that feature prominent hand grips: its comparatively long length feeling a little unbalanced on the smaller, rangefinder-style boxes, though it’s light enough that it doesn’t end up feeling too front-heavy. The lens’s only control point is a large by-wire focusing ring. It’s a little under-damped for my tastes, rotating fairly freely but it was effective on the few occasions I ended up having to manual focus (turns out LED Christmas lights and autofocus do not always play nicely with one-another).

Optically, I was pretty impressed with the lens, the F1.4 (F2.8 35mm-equivalent) aperture gave me plenty of control over depth-of-field and sufficient light for low-light work. Sharpness seems good if not necessarily stellar and with what appears to be pretty good cross-frame consistency, until you reach the extreme corners. As you’d expect, the performance gets better if you stop down a couple of notches. The 16mm is pretty resistant to flare, even when given significant provocation, with good levels of contrast maintained even in contre jour images with veiling flare.

Autofocus was snappy to the degree that I didn’t ever really have to think about it. Only the aforementioned Hybrid AF/LED Christmas light mismatch caused me to even give it a second thought. It’s fast and quiet to the degree that you just don’t notice it, and can concentrate on composing your shot instead.

Alternatives

My impression is that the Sigma is sharper, two thirds of a stop faster and comparably priced to the Olympus 17mm F1.8. However, I don’t think it’s quite as easy a win as that makes it sound. The Olympus is significantly smaller and features the lovely snap-back manual focus clutch and linear manual focus system (faux-cus by wire, perhaps?), both of which are definite bonuses. So, while I’d find it hard to choose between the two, I probably wouldn’t rush out to replace a 17mm if I had one, not least because I personally prefer the narrower angle-of-view that the extra 1mm brings.

1mm in the opposite direction is the Panasonic 15mm F1.7. It usually retails for around $ 100 more than the Sigma, despite being rated as half a stop slower. Again it’s smaller than the Sigma, meaning it handles better on a smaller camera body. Similarly, the 15mm offers a neat operational advantage over the DN, at least for Panasonic shooters: the lovely Leica M lens style front aperture ring (worth the extra $ 100 on its own, in my opinion and well worth lobbying Olympus for firmware support for, if you’re on that side of the system). Optical performance is perhaps a step up from the Sigma, leaving the 16mm F1.4 DN DC as an attractive extra option for Micro Four Thirds but not an absolute must-have, from my perspective.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on A closer look at the Sigma 16mm F1.4 DC DN for Micro Four Thirds

Posted in Uncategorized

 

Sigma 16mm F1.4 DC DN for Micro Four Thirds sample gallery

07 Jan

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9513055220″,”galleryId”:”9513055220″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

We’ve already taken the Sony E-mount version of Sigma’s super fast 16mm lens for a spin, and we were eager to see how the Micro Four Thirds version stacks up. Announced in fall of 2017, the 32mm equivalent prime includes weather-sealing a nine-blade aperture – all for $ 450.

See our Sigma 16mm F1.4 DC DN for
Micro Four Thirds sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma 16mm F1.4 DC DN for Micro Four Thirds sample gallery

Posted in Uncategorized