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CP+ 2019: Hands-on with Nikon Z 24-70mm F2.8 S

28 Feb

CP+ 2019: Hands-on with Nikon Z 24-70mm F2.8 S

At the annual CP+ photography show in Yokohama, Japan, Nikon has been showing its new Z 24-70mm F2.8 S. The Z 24-70mm F2.8 S sits above the Z 24-70mm F4 in Nikon’s new mirrorless lineup, and offers a native mirrorless alternative to the company’s AF-S Nikkor 24-70mm F2.8 for its DSLRs. Promising to be smaller, lighter, and sharper than its forebears, the new lens has been keenly awaited by professional and enthusiast Nikon photographers.

Smaller and lighter than F-mount 24-70mm F2.8

Compared to the AF-S 24-70mm F2.8 for F-mount, the new lens is 25% smaller and 18% lighter. This size comparison shows the difference pretty clearly. Even without the FTZ adapter, it is obvious that the older 24-70mm (top) is a larger lens.

Among the many differences between the two lenses is the zoom ring of the newer zoom, which is much slimmer. in the hand, the weight difference is also obvious. The new lens is a noticeably lighter bit of kit than the older F-mount equivalent, which is a welcome change.

New optical formulation

The optical formula of the Z 24-70mm F2.8 S is totally new, and comprises 17 elements in 15 groups. Two of the elements are Extra Low Dispersion (ED) glass, and four are aspherical. As well as Nikon’s Nano Crystal coating, the 24-70mm introduces a new ‘Arneo’ coat, which is promised to further reduce flare and ghosting.

Fluorine coating

Fluorine coating on the front and rear elements is designed to help make it easier to clean oil and moisture from the outer surfaces of the lens. As you can (just) see in this image, like the older AF-S 24-70mm F2.8, the lens extends when zoomed – taking the hood mounting ring with it.

Control ring

A customizable ‘control ring’, closest to the lens mount joins focus and zoom rings to provide direct control over various functions. Some photographers might find it useful for direct control over aperture, or exposure compensation. There’s potential for the ring to be accidentally bumped, and if this is an issue, the ring can also be disabled.

OLED display

Joining the control ring and customizable ‘L-Fn’ button is an OLED panel, which can display various information, including focal length…

OLED display

Aperture…

OLED display

And focus distance.

‘Multi-Focus System’

A new ‘Multi-Focus System’ has been included in the Z 24-70mm F2.8 S, which appears to be designed along the same lines as recent high-performance Sony GM lenses. In the Z 24-70mm F2.8 S, two autofocus actuators move two focus groups at once, enabling the lens – in Nikon’s words – to “achieve critical focus rapidly from nearly any distance, including close-up shooting”.

Our very limited use of a what judging by the very early serial number we assume is a pre-production sample at the Nikon booth indicates that focus is, indeed, quite fast and responsive in favorable light. More or less comparable, in fact, to the older AF-S Nikkor 24-70mm F2.8. In lower light, and with a bit less contrast to bite onto, autofocus response appears very similar to the Z 24-70mm F4 S when mounted on a Z7.

The new Z 24-70mm F2.8 S will be shipping soon, at an MSRP of $ 2299.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus E-M1X versus the E-M1 II, Panasonic G9, Fujifilm X-T3 and Nikon D500

24 Feb

Introduction

With ‘Deep Learning’ autofocus, crazy-fast burst speeds and refined ergonomics, the Olympus E-M1X is the most focused action and sports shooting camera that Olympus has ever made. And though it retains a Four Thirds sensor like the E-M1 II, Olympus is touting the X as a credible alternative to the flagship Nikon D5’s and Canon EOS-1D X II’s of the world: in the right circumstances.

We’ll look at comparisons against the D5 and 1D X II in a future article, but for now, we wanted to take a closer look at how the E-M1X stacks up against other Four Thirds and APS-C cameras with sports-shooting chops. It’s true that the E-M1X is the only camera in this comparison with a true double-grip chassis, but its competition is fierce nonetheless.

Against the E-M1 Mark II

Olympus has been clear that the E-M1X does not replace the existing E-M1 II, and both will live alongside each other in their lineup. But since the E-M1 II was already such a capable camera and you can get one at a steep discount compared to the X, we figured we’d start with a look at how these two stack up against each other.

The most immediate change is obviously the body. Not only in terms of size, but also battery life (doubled on the X, since it has…double the batteries). There are also significant differences between the two in terms of their controls. By and large, there are more buttons on the X that are dedicated to a single purpose, and the dual 8-way joysticks free up the four-way controller to act as four distinct custom buttons.

Against the E-M1 Mark II

Another benefit of the larger body on the E-M1X is that it makes room for an all new in-body image stabilizer, now rated at up to 7 stops without a stabilized lens, and up to 7.5 stops with certain lenses such as the Olympus 12-100mm F4 Pro. The E-M1X is also officially rated to IPX1 standards; the E-M1 II is certainly a well sealed camera, but Olympus makes no claims regarding formal ratings for it.

Both cameras have the same viewfinders, the same rear screens and the same
(or very similar) sensors

Olympus also doubled the processors in the X relative to the Mark II, enabling not only the ‘Deep Learning’ autofocus that detects motorsport vehicles, aircraft and trains, but also the hand-held high-resolution mode that spits out 50MB files. And Olympus has told us that it’s tweaked its C-AF algorithm in the X (note, this is not the C-AF + Tracking algorithm) to allow for better autofocus performance when you keep an AF area over your subject.

As for the rest, well, there’s not much to tell. Both cameras have the same viewfinders, same screens and the same (or very similar) sensors and very similar menu systems. For all intents and purposes, unless you need a tougher camera, want a beefier camera to use with bigger lenses or are in love with the Olympus ecosystem and want the best possible autofocus performance your bucks can buy, it’s probably best to just stick with the E-M1 II for now.

Against the Panasonic Lumix DC-G9

Let’s start with Panasonic’s Four Thirds stills-shooting flagship, the G9. Although at first glance there doesn’t appear to be much between the two in terms of core specs, the experiences of actually using each of them are more disparate than you might expect.

But let’s start with those specs, just ’cause. While the E-M1X shoots at 18fps with autofocus, the G9 ups the ante with 20fps. But they both have 20MP Four Thirds sensors with native ISO ranges of 200-25600, they both have fully articulating rear touchscreens, AF joysticks and in-body image stabilization.

But whereas the E-M1X has an on-sensor phase detection autofocus system that is able to recognize subjects like aircraft, trains and automobiles, Panasonic has stuck with its Depth from Defocus technology in the G9’s contrast-detection autofocus system. The result is that there is ‘flutter’ in the G9’s EVF when shooting moving subjects, as the lens rapidly wobbles in and out of focus to reconfirm critical focus. The ‘keeper rate’ of in-focus shots on the G9 is actually quite good, but it can be difficult to see while shooting if your subject is in focus at all. It’s a bit disconcerting until you get used to it.

Against the Panasonic Lumix DC-G9

There are other considerations, such as the G9’s top-plate LCD that displays shooting settings, something missing on the Olympus. Both cameras have high-resolution modes, but only the Olympus lets you hand-hold the E-M1X to get those extra pixels. The G9′ s video spec is rather more impressive too. It shoots 4K/60p, while the Olympus tops out at 4K/30p. Missing a built-in battery grip, the Panasonic is of course smaller, and with around half the rated battery life of the Olympus.

Both cameras give great results from their Four Thirds sensors given enough light. In the end, we lean towards the Olympus for outright autofocus performance, but the Panasonic is the stronger option for those who also dabble in video.

Against the Nikon D500

Okay, with the E-M1X’s main Four Thirds competitor out of the way, let’s look at how it stacks up against Nikon’s APS-C flagship, the D500.

With a resolution of 21MP, the D500 is only slightly above the E-M1X in this regard – but the larger sensor will come with less noise, more dynamic range and better low light performance than the E-M1X. Physics is physics, simple as that.

The larger sensor in the D500 will have less noise, more dynamic range, and better low light performance

And while the D500 comes without any form of ‘Deep Learning’ in its autofocus system, it does have a highly capable 3D Tracking mode to track moving subjects. So it won’t automatically detect, say, a car, but if you manually tell the camera what to track, the D500 will stick to it with remarkable tenacity. By contrast, Olympus’ non-subject specific tracking is nowhere near as ‘sticky’ as the Nikon.

Against the Nikon D500

The viewfinder experience differs from one camera to the next, and not just because one is optical (Nikon) and one is electronic (Olympus). The Olympus’ viewfinder is noticeably larger than that on the D500, but because it uses LCD technology, contrast is lacking and blacks can appear somewhat ‘washed out.’

The D500 also tops out at 10fps, slower than the E-M1X but still respectable. Despite only having a single battery, the D500 is rated for more shots per charge than the E-M1X, in part because it doesn’t have to power its viewfinder. But the Olympus has incredible image stabilization, and Nikon’s lens lineup offers limited solutions for getting near the reach of the Olympus lineup without spending more money and carrying more weight.

In the end, both cameras will reward you with an insane number of in-focus ‘keepers’ and good image quality – but the Nikon will handily beat the Olympus as light levels drop and ISO values rise, while Olympus gives you more reach in a smaller overall package.

Against the Fujifilm X-T3

Aha! You weren’t expecting Fujifilm to make an appearance, were you? But the X-T3 is a credible contender, offering further evidence that Fujifilm is quickly learning from both its past and its competitors. It wasn’t that long ago that Fujifilm offered dismal video and slow autofocus, yet now the X-T3 is a stills / video hybrid camera that is among the best APS-C cameras we’ve ever used. So how does the E-M1X look against it?

The X-T3 has the highest resolution of any camera in this slideshow

With a new sensor offering 26 megapixels of resolution, the X-T3 will have the highest resolution of any camera in this slideshow. It also reads out very fast, allowing for 20fps burst shooting using the electronic shutter, and 30fps with an added 1.25x crop that yields 16MP images.

But what good are burst speeds if your subject is out of focus? Good thing the latest autofocus system in the X-T3 is really good, with a solidly capable tracking mode that works similarly to Nikon’s 3D Tracking. Also like the Olympus, there’s no top-plate LCD to check your settings, but that may not matter if you make use of the analog dials. And one last small-but-significant distinction: the E-M1X has a large AF-L / AE-L button that can be assigned to AF-ON for back-button shooters, and the X-T3’s AF-L and AE-L buttons are comparatively small and placed less conveniently.

Against the Fujifilm X-T3

Despite its relatively large sensor, the X-T3 will also be the smallest camera in this comparison – but that portability comes with compromises. The Fujifilm’s smaller grip is less well-suited to large lenses than the Olympus, and battery life is comparatively poor. But build quality is excellent, even if Fujifilm won’t commit to an ingress protection rating like Olympus will. Despite having excellent video capabilities, the Fujifilm has no in-body stabilization, limiting video shooting possibilities for some users, though it has a much nicer electronic viewfinder and zero-blackout shooting in those electronic bursts.

Like Panasonic’s G9, the Fujifilm X-T3 may be best seen as a more appropriate all-rounder for most people. But Olympus should be concerned about the little Fujifilm, particularly as the system has some excellent lens support that signals how seriously the company is taking sports and action shooting (see the XF 100-400mm zoom and the 200mm F2 prime). Fuji also offers – arguably – some of the best JPEG color in the business, which is not only an Olympus strong suit but also very important to action shooters that don’t have time to process thousands of Raw files.

The wrap

In looking at the E-M1X in comparison to these excellent crop-sensor cameras on the market today, you can’t help but wonder if Olympus really has their work cut out for them.

It occupies an interesting niche in the market. Olympus is clearly catering to users that may either aspire to own a professional double-grip DSLR, or perhaps already own an SLR of some sort but are tired of carrying it around. These users must be shooting in pretty decent light to avoid ultra high ISO values compromising image quality on the Four Thirds sensor and yet, these users must not want to compromise at all on autofocus capability.

There’s no denying that the E-M1X is an amazing piece of technology wrapped in what is perhaps the best-built camera body any of us have laid our hands on. In the right hands and in the right circumstances, it’s capable of astounding imagery. We’ll continue to put the camera through its paces as we press on with our final review.

What do you think of the E-M1X? Do you own any of the other cameras mentioned in this comparison? Do you want to pick up a copy of the Olympus for your very own? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon announces Z 24-70mm F2.8 S – a new standard zoom for mirrorless

17 Feb

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Nikon has taken the wraps off a new standard zoom lens for mirrorless – the Z 24-70mm F2.8 S.

The Z 24-70mm F2.8 S has been on Nikon’s Z-series roadmap since the mount was announced last August, and is being pitched by Nikon as a perfect fast standard lens for the Z6 and Z7, offering a faster maximum aperture and more robust build quality than the more compact Z 24-70mm F4 S.

Compared to the AF-S 24-70mm F2.8 for F-mount, the new lens is 25% smaller and 18% lighter, with a totally redesigned optical formula comprising 17 elements in 15 groups. Two of the elements are Extra Low Dispersion (ED) glass, and four are aspherical. As well as Nikon’s Nano Crystal coating, the 24-70mm introduces a new ‘Arneo’ coat, which is promised to further reduce flare and ghosting. Fluorine coating on the front and rear elements is designed to help make it easier to clean oil and moisture from the outer surfaces of the lens.

Initial sample images from photographer Ami Vitale

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An customizable ‘L-Fn’ button is joined by an OLED panel, which can display various information, including focus distance, aperture and focal length. Also new, a third customizable ‘control ring’ joins focus and zoom rings to provide direct control over various exposure parameters (if desired).

The new Z 24-70mm F2.8 S will ship later this spring, at an MSRP of $ 2299.

Press release:

NIKON UNVEILS THE NIKKOR Z 24-70MM F/2.8 S, A FAVORITE ZOOM LENS REBORN FOR THE Z SERIES

The NIKKOR Z 24-70mm f/2.8 S Implements the Latest Nikon Optical Technologies to Reinvent One of Nikon’s Most Coveted Zoom Lenses for the Full-Frame Mirrorless Z System

MELVILLE, NY (February 13, 2019 at 11:01 P.M. EST) – Today, Nikon Inc. announced the NIKKOR Z 24-70mm f/2.8 S: a much-anticipated, fast-aperture zoom lens that’s ideal for professional and advanced photographers who capture portraits, landscapes, weddings and events, as well as content creators who shoot video using Nikon’s revolutionary new Z Mount System. Designed to take full advantage of the wider, brighter and faster Z Mount, this new S-Line lens delivers stunning sharpness all the way to the corners of the frame, even when used at its maximum aperture.

The NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to use the all new Nikon-designed ARNEO coat, which is used in conjunction with Nikon’s Nano Crystal Coat to significantly minimize flare and ghosting. The lens also includes Nikon’s new Multi-Focus System to help ensure fast and accurate autofocus even when shooting close-up subjects. Additionally, the 24-70mm f/2.8 S is the first NIKKOR Z lens to feature a dedicated manual focus ring independent of the customizable control ring, a Function (L-Fn) button, and an Organic EL Lens Information Panel for quick reference of key settings such as focus distance, depth-of-field, aperture and focal length.

“The NIKKOR Z 24-70mm f/2.8 S is the lens that Z Series users have been waiting for, a lens that many photographers and videographers would never leave home without,” said Jay Vannatter, Executive Vice President, Nikon Inc. “Lightweight and tack sharp, the 24-70mm f/2.8 S is a great example of the outstanding performance and portability that is possible with our next-generation Z Mount System.”

NIKKOR Z 24-70mm f/2.8 S – Performance, Precision and Optical Superiority
The NIKKOR Z 24-70mm f/2.8 S builds on a century of Nikon optical heritage by harnessing the technical advantages of the Z Mount. This type of lens is known as a photographer favorite due to its versatility, useful zoom range, fast aperture and sharpness. Nikon was able to redesign this all-around zoom lens to achieve a new standard of performance, while making it both smaller and lighter—approximately 24.7% lighter and 18.4% shorter than the popular AF-S NIKKOR 24-70mm f/2.8E ED VR lens.

The NIKKOR Z 24-70mm f/2.8 S takes advantage of the latest optical technologies to ensure exceptional control of aberration, ghosting and flare. Featuring an optical construction of 17 elements in 15 groups—including two ED glass elements and four aspherical elements—the lens delivers sharp, virtually vignette-free performance from edge-to-edge across its entire zoom range, even at maximum aperture.

Additionally, the NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to feature Nikon’s all-new ARNEO coating: a multi-layer coating that is used in conjunction with Nano Crystal Coating for superior anti-reflective performance. While Nano Crystal Coat suppresses ghosting and flare coming from backlight at diagonal angles, the ARNEO coat compensates for light entering the lens from vertical angles. This expanded field enables the lens to capture exceptional contrast and sharpness even when the light source is visible inside the frame.

To help ensure fast, accurate and silent autofocus, the NIKKOR Z 24-70mm f/2.8 S combines a powerful stepping motor (STM) with Nikon’s new Multi-Focus System. This system uses two actuators to move two focus groups at once, enabling the lens to achieve critical focus rapidly from nearly any distance, including close-up shooting.

The 24-70mm f/2.8 S is the most customizable NIKKOR Z lens yet. The lens features an Organic EL Lens Information Panel that allows for quick confirmation of aperture and focal length or focus distance and depth-of-field without looking at the viewfinder. For enhanced versatility, the addition of a L-Fn button allows you to set over 20 custom functions when shooting stills. The lens is also the first to feature an independent focus ring in addition to the customizable control ring found on all S-Line lenses, giving professional photographers and videographers more comfortable and convenient control over their shooting experience.

Finally, the NIKKOR Z 24-70mm f/2.8 S was designed to excel at video in addition to stills capture, taking full advantage of the industry-leading video features found in the Nikon Z 6 and Z 7. Its design minimizes focus breathing, preventing the angle of view from changing when the focus is adjusted; the stepping motor and Multi-Focus System ensure fast, accurate and quiet focusing; full compatibility with the built-in 5-axis VR of the Nikon Z System ensures users can capture super-smooth video hand-held; and the customizable control ring, independent focus ring and Organic EL panel give filmmakers even more control over this exceptional lens on-set.

The NIKKOR Z 24-70mm f/2.8 S is destined to be an instant classic—a must-own lens for Nikon Z Series creators of all types.

Key Features:

  • An indispensable standard zoom lens for professionals, advanced photographers and video creators—ideal for environmental portraits, landscapes, weddings, events, studio and street photography.
  • Constant f/2.8 aperture throughout the zoom range delivers the subject separation, speed and gorgeous bokeh professionals demand.
  • Exceptional optical performance achieves edge-to-edge sharpness and minimal aberration in an incredibly lightweight and portable package, thanks to the revolutionary new Z mount.
  • All-new ARNEO coating works in conjunction with Nikon’s Nano Crystal Coat to minimize ghosting and flare when the light source is within the frame.
  • Fast, accurate and quiet autofocus throughout the zoom range, thanks to Nikon-designed Multi-Focus System and Stepping Motor.
  • Built-in Function (L-Fn) button, Organic EL Lens Information Panel and independent focus ring give creators more control over their shooting experience.
  • Fully compatible with in-camera 5-axis VR found in the Nikon Z 6 and Z 7, providing up to 5 stops1 of image stabilization without adding to the size or weight of the lens.
  • Optimized for video, with reduced focus breathing, a quiet stepping motor, customizable control ring, and the ability to take advantage of the in-camera 5-axis VR + eVR of the Nikon Z 6 and Z 7.
  • Designed with consideration to dust and drip resistance, and featuring a fluorine coat that effectively repels dust, water droplets, grease and dirt.

Price and Availability:

The NIKKOR Z 24-70mm f/2.8 S will be available in spring 2019 at a suggested retail price (SRP) of $ 2,299.952.

For more information about this lens, as well as the latest Nikon products including the full Nikon Z Mount System, please visit www.nikonusa.com.

1. Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.
2. SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon Nikkor Z 24-70mm F2.8 S specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 24–70 mm
Image stabilization No
Lens mount Nikon Z
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 17
Groups 15
Special elements / coatings Four ED and two aspherical elements + Arneo and Nano Crystal coatings
Focus
Minimum focus 0.38 m (14.96″)
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 805 g (1.77 lb)
Diameter 89 mm (3.5″)
Length 126 mm (4.96″)
Sealing Yes
Zoom method Rotary (extending)
Power zoom No
Filter thread 82 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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Sigma has done more for enthusiast APS-C than Nikon, Canon and Sony combined

16 Feb
There’s no reason APS-C can’t be a good enthusiast format, with the right lenses.

Full-frame is being touted as the future of enthusiast as well as professional photography. But I’d argue that APS-C is still a highly capable format and one that makes sense for a lot of people. That could be true for an even broader group if it was properly supported as an enthusiast format. And, I’d contest, one company has consistently done more to support the big brand’s users than the camera makers themselves.

The past few years have seen a wave of full-frame launches and, from the original EOS 5D through to the Sony a7 series and EOS RP, the falling prices of full-frame cameras have made them accessible to an ever-wider number of people. This focus on relatively profitable models (and lenses) is only likely to continue as the camera market contracts back to catering for a core of dedicated photographers, rather than trying to sell to everyone. But what does this mean for APS-C?

While all the buzz is around full-frame, the industry still sells more APS-C cameras and there are many, many times more of the smaller-chipped cameras in circulation than there are full-framers. Should these countless millions of cameras be seen as a temporary aberration, now being corrected, or can APS-C still be a good fit for enthusiasts?

The aberrant puny stepchild camera

Sony’s new a6400 camera has an APS-C sensor and some of the best autofocus performance around. It’s also got a decent lens on it in this photo, but it’s a lens that costs just as much as the camera itself.

There’s an argument that APS-C is simply a quirk of history: that camera makers only embraced it because it was the largest format they could manufacture affordably enough to actually sell, and that they were always going to revert to ‘full-frame’ as soon as it became cost-effective. But, while much of this is true, it that doesn’t mean that APS-C is too small or can only be a stop-gap. After all, there’s nothing intrinsically optimal about full-frame*.

After all, there’s nothing intrinsically optimal about full frame

You could equally make the opposite argument: that full-frame is an arbitrary reference point for comparisons that remained in the imagination because of the popularity of the film format it’s based on, not any inherent ‘rightness’ of it. But, I’d argue, it’s also because the SLR makers didn’t want to give up on all the money they’d invested in designing extensive lineups of lenses for film, so never really committed to APS-C as a serious format.

Serious support?

Way back, photographers could get a Nikon 17-55mm F2.8 ‘pro’ lens for APS-C cameras like the D80. Today, users can get the same lens or newer and more ambitious offerings from Sigma. (And the 35mm F1.8 DX seen here is one of only four DX primes Nikon has ever released.)

To make the most of any format, you need bright lenses. And that will mean different things to different photographers. I’m going to argue that what you really need is a choice of bright primes and F2.8 (or faster) zooms if you’re going to make a format useful to a range of enthusiasts.

Look across the ranges of Nikon and Canon and you’ll see a smattering of APS-C-specific lenses: a pro-grade 17-55 F2.8, a wide-angle zoom with a moderate maximum aperture and perhaps a macro or two. That’s often the extent of the support for enthusiasts. Sure there’ll be countless kit-zooms, maybe a mid-market 18-one-hundred-and-something and an 18-200mm for the all-in-one crowd. But look for a decent prime and chances are your options are limited to full-frame lenses.

To make the most of APS-C you really need
a choice of bright primes and
F2.8 (or faster) zooms

Want an 85-90mm equiv portrait lens? Shush! Buy a 50mm and learn not to frame so tight, or accept that you’ll have to use something longer, buy an 85mm and SPEAK UP A BIT so your subject can here you. Looking for a 24mm equiv prime (hardly the most exotic request)? Well, sorry about that.

And it’s this lack of lens support, rather than any shortcoming of the format that I’d argue has always undermined it. Which is odd, as Nikon has, with the D300/D500 and D7000 series cameras, made some very nice enthusiast models. Likewise Canon with its EOS X0D models. But the net effect is the implication that full-frame is the ideal end-point and that APS-C isn’t suitable for enthusiasts: it’s purely a stepping-stone.

S for sufficient?

What’s that? An 85mm F1.8 equivalent prime? Fujifilm’s lens lineup lets you get ‘full-frame image quality’ when you need it, without having to lug full frame lenses round all the time.

But APS-C can be a highly capable format. Like Micro Four Thirds, it can be small and affordable when you want it to be, but you can extend its capability considerably if you add a bright lens where you need it. Image sensors have improved to an amazing extent over the lifespan of APS-C, with technology improving to push both low light performance and dynamic range to new limits. And, while full-frame chips have gotten better by a similar amount, there’s no reason to think that people’s needs and expectations have become more demanding at the same rate.

APS-C can be a highly capable format. Like Micro Four Thirds, it can be small and affordable when you want it to be, but you can extend its capability considerably if you add a bright lens where you need it

If APS-C has exceeded ‘good enough’ for a lot of applications, then what does it matter that full-frame has gotten even better? (I’ll concede that reviews can contribute to this: we can show which camera is better, but can’t tell you whether you, personally, need that improvement). Finally, it’s worth nothing that in the era of mirrorless, there’s no direct connection between sensor size and viewfinder size/brightness, so there are fewer downsides than ever to APS-C.

Sigma to the rescue

Lenses like the Sigma 56mm F1.4 give you great low light performance and subject separation on crop-sensor cameras like Sony’s a6500.
ISO 1000 | 1/100 sec | F1.4

But in the end, you just need lens support. And I’d argue that Sigma has done more to support APS-C as an enthusiast format than the big camera makers have. Fujifilm should get some recognition: having picked APS-C as its enthusiast format, it’s built the most comprehensive lineup there’s ever been (and perhaps Canon’s 32mm F1.4 for EF-M is the beginning of something interesting for that system) but Sigma deserves credit not just for its commitment but also for its innovation.

Fujifilm has built the most comprehensive APS-C lineup there’s ever been

As a third-party lens maker, Sigma offered some affordable alternatives to the camera makers’ own, such as its 17-50mm F2.8, but it also branched-out to offer lenses that neither of the big two made. Its 50-150mm F2.8 remains one of my favorite lenses of the period: it offered the coverage of a 70-200mm had on film, but was smaller, lighter and cheaper, giving it a real advantage over an actual 70-200. (Pentax also deserves credit for its 50-135mm F2.8, part of the most complete own-brand APS-C lens lineups for DSLR).

But in recent years, Sigma’s commitment to APS-C has been redoubled: creating lenses that extend what you can expect the format to do. The 18-35mm F1.8 is a lens that lets APS-C cameras match the depth-of-field and low-light performance of a full-frame camera with a 27-52mm F2.8 zoom, obviating the need to upgrade, perhaps. On top of this, it’s made a 50-100mm F1.8, letting APS-C match a full-framer with a 75-150mm F2.8. Again, this lets an enthusiast who likes to dabble in sports gain ‘full-frame image quality’ for their sports shooting, without having to bear the weight and cost of full-frame when they’re shooting other subjects.

And onward

Sigma’s 16mm F1.4 is a fantastic lens for Sony E-Mount (and, of course, Micro Four Thirds)

Sigma’s continued this trend into the mirrorless space. Sony started its E-mount system with a 16mm F2.8 prime: exactly the sort of lens I was saying was always missing from the DSLR lineups (even if that particular lens is a case of ‘be careful what you wish for’). It’s produced a couple of interesting primes since then but now seems to have totally shifted its attention to full-frame. This again risking the door being closed on APS-C as an enthusiast format. But, again, Sigma has stepped in.

Not only has Sigma made a F1.4 16mm for Sony’s APS-C E-mount, it’s also created a 30mm and a 56mm F1.4. It hasn’t made any fast zooms for mirrorless, but this trio of primes again allows APS-C shooters to squeeze the most out IQ of their cameras, if they don’t need full-frame performance all the time. Something worth considering if you’re thinking about switching systems.

Another thing to consider might be that the standout lenses for the fledgling full-frame mirrorless cameras are often the 24-105mm and 24-70mm F4s: lenses that could be matched in capability by a 16-70mm F2.8 on APS-C. If anyone feels like making one. Hint, hint.

*Anyone saying it allows an ideal compromise between image quality and lens/camera size clearly hasn’t been keeping track of the increasing bulk of the lenses for the latest mirrorless full-frame cameras.

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Sigma releases firmware updates for Canon EF and Nikon F lenses, MC-11 mount converter

25 Jan

Sigma has released multiple firmware updates for Nikon F-mount and Canon EF-mount interchangeable lenses. The new lens firmware updates bring a number of changes to a total of seven lenses, adding support for Canon’s Lens Aberration Correction function and multiple bug fixes, which were addressed in a recent compatibility notice.

The firmware update for Canon EF-mount brings the new Lens Aberration Correction function support for the following lenses:

  • SIGMA 24-35mm F2 DG HSM | Art
  • SIGMA 500mm F4 DG OS HSM | Sports
  • SIGMA 18-300 mm F3.5-6.3 DC MACRO OS HSM | Contemporary

In addition, the update improves the AF speed for the 500mm lens when it is used with select camera models, and also adds compatibility with the EOS R’s ‘Scene Intelligent Auto Mode’ and automatic ‘1.6x (Crop)’ to the 18-300mm lens.

Sigma has also released a firmware update for Nikon F-Mount lenses that exclusively brings bug fixes. The software corrects problems that could impact video recording, AF, and overexposure involving the following lenses:

  • SIGMA 24-35mm F2 DG HSM | Art
  • SIGMA 50mm F1.4 DG HSM | Art
  • SIGMA 85mm F1.4 DG HSM | Art
  • SIGMA 135mm F1.8 DG HSM | Art

Joining the lens updates is a firmware release for Sigma Mount Converter MC-11 SA-E and EF-E. The update adds compatibility with the newest interchangeable lenses firmware updates.

The products can be updated using the Sigma Optimization Pro software, which is available to download on Windows and macOS for free. The full firmware update change-logs are below.

[CANON UPDATE]

We would like to announce that a new firmware update for SIGMA’s interchangeable lenses for CANON EF mount listed below is now available.

This firmware allows compatibility with Canon’s in-camera Lens Aberration Correction function to enable correction matching the optical characteristics of each lens. It also corrects the phenomenon that abnormal images appear or operation errors occur when the function is enabled. In addition, it improves the functionality. Furthermore, phenomena particular to some lenses when they are used in combination with the Canon “EOS R” and their “Mount Adapter EF-EOS R” or “Control Ring Mount Adapter EF-EOS R” that we announced on January 16th, 2019 are also improved on by this firmware.

For customers who own the SIGMA USB DOCK and applicable products listed below, please update the firmware via SIGMA Optimization Pro.*

* Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0. or later.

SIGMA 24-35mm F2 DG HSM | Art for CANON EF mount

Benefits of the update:

  • It has ensured compatibility with Canon’s in-camera Lens Aberration Correction function, which enables correction matching the optical characteristics of the attached lens.*
  • It has corrected the phenomenon that abnormal images appear or operation errors occur when Canon’s in-camera Lens Aberration Correction function is enabled.

SIGMA 500mm F4 DG OS HSM | Sports for CANON EF mount

Benefits of the update:

  • It has ensured compatibility with Canon’s in-camera Lens Aberration Correction function, which enables correction matching the optical characteristics of the attached lens.*
  • It has corrected the phenomenon that abnormal images appear or operation errors occur when Canon’s in-camera Lens Aberration Correction function is enabled.
  • It has improved the AF speed when the lens is used in combination with some cameras.

SIGMA 18-300 mm F3.5-6.3 DC MACRO OS HSM | Contemporary for CANON EF mount

Benefits of the update:

  • It has ensured compatibility with Canon’s in-camera Lens Aberration Correction function, which enables correction matching the optical characteristics of the attached lens.*
  • It has corrected the phenomenon that abnormal images appear or operation errors occur when Canon’s in-camera Lens Aberration Correction function is enabled.
  • It has become compatible with EOS R’s “1.6x (Crop)” to be set automatically as well as with “Scene Intelligent Auto Mode”.

* Compatible Canon camera models: EOS R1, EOS-1D X mark II, EOS 5Ds, EOS 5Ds R, EOS 5D mark IV, EOS 6D mark II, EOS 80D, EOS 8000D (EOS Rebel T6s, EOS 760D), EOS 9000D (EOS 77D) , EOS Kiss x8i (EOS Rebel T6i, EOS 750D), EOS Kiss x9i (EOS Rebel T7i, EOS 800D), EOS Kiss x9 (EOS Rebel SL2, EOS 200D)

1 When the Digital Lens Optimizer is switched [OFF], but “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function is switched [ON], the appropriate corrections can be achieved in accordance with the optical characteristics of each lens.

[NIKON UPDATE]

We would like to announce that a new firmware update for SIGMA’s interchangeable lenses for NIKON F mount listed below is now available.

Phenomena particular to some lenses when they are used in combination with the Nikon “Z 7” and their “Mount Adapter FTZ” that we announced on October 26th, 2018 are improved on by this firmware.

For customers who own the SIGMA USB DOCK and applicable product listed below, please update the firmware via SIGMA Optimization Pro*

* Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0. or later.

SIGMA 24-35mm F2 DG HSM | Art for NIKON F mount

Benefit of the update:

When the lens is used in combination with the Nikon “Z 7” and their “Mount Adapter FTZ”, it has corrected the phenomenon whereby it may occasionally stop recording while shooting video.

SIGMA 50mm F1.4 DG HSM | Art for NIKON F mount

Benefit of the update:

When the lens is used in combination with the Nikon “Z 7” and their “Mount Adapter FTZ”, it has corrected the phenomenon whereby the response to the AF operation is intermittent when starting to shoot with the subject completely out of focus.

SIGMA 85mm F1.4 DG HSM | Art & SIGMA 135mm F1.8 DG HSM | Art for NIKON F mount

Benefit of the update:

When the lens is used in combination with the Nikon “Z 7” and their “Mount Adapter FTZ”, it has corrected the phenomenon whereby it may occasionally show overexposure when narrowing down the aperture from F5.6 while shooting.

[SIGMA MOUNT CONVERTER MC-11 UPDATE]

We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 SA-E and EF-E is now available. This firmware makes the SIGMA MOUNT CONVERTER MC-11 compatible with the latest firmware of SIGMA interchangeable lenses. For customers who own the SIGMA MOUNT CONVERTER MC-11, please update the firmware via SIGMA Optimization Pro* by connecting it to a computer using the supplied USB Cable.

* Before updating the SIGMA MOUNT CONVERTER MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.5.0 or later.

SIGMA MOUNT CONVERTER MC-11 SA-E

Benefit of the update:

It has become compatible with the SIGMA 28mm F1.4 DG HSM | Art for SIGMA.

SIGMA MOUNT CONVERTER MC-11 EF-E

Benefits of the update:

  • It has become compatible with the SIGMA 500mm F4 DG OS HSM | Sports for CANON EF mount, that has the latest firmware Ver.2.00.
  • It has become compatible with the SIGMA 24-35mm F2 DG HSM | Art for CANON EF mount, that has the latest firmware Ver.2.00.
  • It has become compatible with the SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary for CANON EF mount, that has the latest firmware Ver.2.00.
  • It has become compatible with the SIGMA 28mm F1.4 DG HSM | Art for CANON EF mount.
  • It has become compatible with the SIGMA CINE LENS FF High Speed Prime Line 28mm T1.5 FF for CANON EF mount and 40mm T1.5 FF for CANON EF mount.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Nikon Z 50mm F1.8 S

24 Jan

Nikon Z 50mm F1.8 S
$ 599
www.nikon.com

Gold Award

93%
Overall score
Jump to conclusion

One of three lenses launched alongside the Nikon Z6 and Z7, on the face of it the Z 50mm F1.8 S might appear the most pedestrian of the group. It’s hard to get too excited about a medium-fast 50mm these days, but in its promotional literature Nikon claimed that its latest standard prime is anything but a standard standard. In fact, the company claimed that the Z 50mm S would offer superb resolving power, low aberrations and excellent wide-aperture performance, impressive enough to challenge assumptions about what lenses of this type should be capable of.

The Nikon Z 50mm F1.8 is twice as heavy, twice as large and about twice the price of the company’s equivalent lens for F mount – but is it twice as good? We’ve been shooting with one for a few weeks, and one thing’s for sure – it’s a radically different lens.

Key specifications:

  • Focal length: 50mm
  • Format: Full-frame
  • Aperture range: F1.8-16 (1/3EV steps)
  • Filter thread: 62mm
  • Close focus: 0.4m
  • Hood: Included HB-90, bayonet attachment.
  • Length / Diameter: 76 x 86.5mm
  • Weight: 415g (14.7oz)
  • Optical construction: 12 elements in 9 groups, including Nano Crystal Coating
  • Special elements: 2 ED, 2 Aspherical.

Compared to its nominal F-mount equivalent, the Z 50mm F1.8 S is an obvious step up in terms of optical technology. Featuring advanced coatings, almost twice the number of elements (including two aspherical and two ED) and three additional groups, the new prime is substantially more complex. Compare this to the single aspherical element in the F-mount version (itself a novelty when the lens was introduced in 2011) and it’s obvious that Nikon has taken the opportunity to completely redesign its newest standard lens for the radically different dimensions of the new Z mount.

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Design and handling

The Z 50mm F1.8 S is as different optically to its F-mount predecessors as it is cosmetically. Somewhat reminiscent in overall look and feel to a modern Sony ZA or Sigma Art-series prime, the new lens is smooth, stylish and simple in design. Constructed from a mixture of polycarbonate and aluminum, the barrel of the 50mm is dominated by a wide and well-damped metal focus ring. A single A / M focus switch is the only other moving part. Since the new Z-series cameras feature in-body stabilization, the lens itself is unstabilized.

‘Build quality’ is a notoriously hard quality to measure, and one that we have to assess subjectively, on the basis of anecdotal (but as extensive as we can manage) experience. The Z 50mm F1.8 looks nice, handles well, feels neither too heavy nor too light, and appears to be manufactured to a high standard. There is no give in the focus ring, no wobble in the mount, and after weeks of use it hasn’t fallen apart in my hands. Etc., and so on.

In common with other prime lenses we’ve seen that are specifically designed for mirrorless camera systems, the Z 50mm F1.8 S has a relatively small, concave front element.
The only physical switch on the barrel of the Z 50mm F1.8 is for manual / automatic focus. Since the Z6 and Z7 feature in-body Vibration Reduction, there’s no need for the lens to be stabilized.

Less anecdotally – and more importantly – we’ve put the Z 50mm F1.8 to pretty hard use in the past few weeks. Unusually hard, in fact. I’ve spent hours with the Z7 and 50mm shooting in extremely wet and windy conditions on multiple occasions recently, working on a photo project on Washington’s Pacific coast. In rain heavy enough to somehow soak down, under, into and around multiple layers of waterproof clothing, the Z7 and Z 50mm F1.8 kept on working without any serious problems.

The only issue I had after extended exposure to the elements was a very occasional glitch where the Z7 would switch out of automatic focus and into MF mode. Re-seating the lens in the mount was enough to clear the problem. Whether the issue was caused by moisture getting into the camera (I didn’t see any when I looked later) or into the M / A switch on the lens I don’t know. Either way it didn’t prevent me from working.

This image shows the rubber gasket around the Z 50mm F1.8’s mount, which helps keep dust and moisture from getting into the camera. Our experience shooting with the lens in exceptionally wet conditions suggests that it’s highly effective.
This is the Z 50mm F1.8 S side-by-side alongside the Z 35mm F1.8 S. Good luck telling these lenses apart if you’re fishing around inside a camera bag.

We already know from Roger Cicala’s tear-down that the Z7 is impressively well-sealed, and while the Z 50mm F1.8 S might not be gasketed to the same standard (we won’t know that for sure until Roger takes one apart), it certainly seems very well sealed from my experience.

One frustration – although it’s not the optical designers’ fault – the new 50mm and 35mm F1.8 Z primes are so similar to one another cosmetically, that they’re almost impossible to distinguish in a camera bag. They’re almost the exact same size and shape, very similar in weight, and both use a 62mm cap. A Nikon Z shooter carrying both would practically be forced to label them in some way to avoid mixups in the field. Ditto the HB-89 and HB-90 lenshoods, which are mechanically interchangeable and almost indistinguishable (to the extent that I have no idea why Nikon bothered to make two different hoods), but which are frustratingly shy of being exactly identical.

Focus

The Z 50mm F1.8 S is an internal focus design (the lens doesn’t get bigger or smaller when focusing) and in normal or bright lighting conditions, it focuses quickly and accurately on a Z6/7. Autofocus actuation from the stepping motor isn’t as fast as Nikon’s snappiest F-mount zooms with more powerful ring-type AF motors, but it’s at least as fast as most of the company’s older primes and good enough for rapid acquisition of most subjects. The Z 50mm F1.8 S focuses slightly faster than the Z 35mm F1.8 S but there’s not much to choose between them.

As well as being rapid, autofocus is effectively silent, too. Video shooters might detect a subtle ‘zip’ sound on the in-camera audio as the lens makes large focus adjustments, but it’s very subtle. Normal video AF movements are slow and smooth enough (this can also be customized) that you probably won’t notice it, even if you’re relying on the in-camera microphones for sound.

The large focusing ring makes up most of the length of Z 50mm f1.8 S’s lens barrel, and offers fine-geared control over focus via a ‘focus by wire’ system.

The Z 50mm F1.8 S uses a ‘focus by wire’ system for manual focus, which offers very precise control from the wide, nicely-damped focus ring. The movement is speed-sensitive, not linear, meaning that a slow rotation of the ring will result in a similarly slow movement of the focusing group. If you move the ring quickly, the motor will respond more rapidly and make a larger focus movement.

This is great for stills, but some videographers (especially those that use follow focus systems) might find themselves wishing for a linear response, where X degrees of movement of the ring always results in X amount of focus movement. This is less a criticism of the lens, more of the Z system at this point but we’re hoping that Nikon can adjust this behavior via firmware. Similarly, it would be nice to have the option of switching the direction of the manual focus ring, for photographers coming from different systems.

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Meike releases 50mm F1.7 full-frame budget lens for Canon EOS-R, Nikon Z cameras

23 Jan

Hong Kong-based company Meike has launched its 50mm F1.7 lens for the Canon EOS-R and Nikon Z6 / Z7 full-frame cameras. This manual focus full-frame lens features 6 elements in 5 groups, 0.5m / 1.6ft minimum focusing distance, a nanotechnology multi-layer coating, and 310 gram / 11oz weight.

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The Meike 50mm F1.7 lens, which is designed for portrait photography, sports a dust- and water-resistant design with a brushed metal housing and metal bayonet. The model is available now with an included front and rear lens caps, a lens hood, pouch, and cloth for $ 139.99 USD through Amazon (EOS R, Nikon Z).

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Nikon quietly announces Coolpix B600, A1000 compact cameras

19 Jan

Nikon has quietly announced the upcoming availability of two new compact cameras, the Coolpix B600 and the Coolpix A1000. The B600 fills a gap between Nikon’s current Coolpix B500 and B700 cameras while the A1000 is a lower-resolution successor to Nikon’s A900.

Nikon Coolpix B600

The Coolpix B600 is a bridge-style camera with a 60x optical zoom lens with an equivalent focal length range between 24-1440mm. The lens features Nikon’s Hybrid Vibration Reduction (VR) technology — rated for three stops of compensation — and offers a dedicated macro mode.

Full specs for the B600 are yet to be released, but from what’s known so far, the B600 houses a 16-megapixel sensor that’s also capable of shooting 1080p30 video. The B600 also features Nikon’s Active D-Lighting, which is designed to reduce the loss of detail in highlights and shadows of high-contrast scenes.

On the rear of the camera is a 3-inch 921k-dot LCD monitor with an anti-reflective coating. Like its P600 counterpart, the B600 includes target-finding AF and multiple creative modes for both photos and videos.

Nikon Coolpix A1000

The Coolpix A1000, an apparent successor to the A900, is a compact camera with a 35x optical zoom lens with an equivalent focal length range between 24-840mm. Like the B600, it too uses Nikon’s Hybrid VR technology and Active D-Lighting.

Inside the A1000 is a 1/2.3-inch 16-megapxiel backside illuminated CMOS sensor — a drop from the 20-megapixel sensor inside the A900 — with a standard sensitivity range of ISO 100-6400. The A1000 has Raw photo capture in Nikon’s NRW format and is capable of recording 4K30 video.

The A1000 features 1166k-dot equivalent electronic viewfinder and a 3-inch tilting 1036k-dot touchscreen LCD display on the rear of the camera. Nikon has also included its SnapBridge technology, meaning the A1000 can be paired via its built-in Wi-Fi and Bluetooth with supported smartphones and tablets to review and transfer photos on the go.

Pricing and availability

The Nikon Coolpix B600 and A1000 are currently available for pre-order at Wex Photo and Video for £329 / €359 and £409 / €449, respectively.

Nikon hasn’t mentioned whether or not the B600 and A1000 will be available in the U.S. market. DPReview has contacted Nikon for details on the exact availability and will update this article accordingly if and when it gets a response.

Press releases:

Nikon releases the high-power zoom COOLPIX B600

A versatile camera that covers wide-angle to super-telephoto shooting for imaging experiences simply not possible with a smartphone

TOKYO – Nikon Corporation (Nikon) is pleased to announce the release of the COOLPIX B600, a compact digital camera equipped with a high-performance 60x optical zoom NIKKOR lens.

The COOLPIX B600 employs a 60x optical zoom NIKKOR lens that covers a range of equivalent focal lengths beginning at wide-angle 24 mm*1 and ending at super-telephoto 1440 mm*1 (Dynamic Fine Zoom further expands the zoom ratio to 120x*2), making it possible for users to enjoy super-telephoto photography without compromising sharp and clear resolution.

The camera has an effective pixel count of 16.0 megapixels and supports a maximum sensitivity of ISO 6400. Its combination of backside illumination CMOS sensor and EXPEED high-performance image-processing engine captures superior still and video quality, even at high sensitivities. The COOLPIX B600 is also equipped with a variety of functions that enable a diverse power of expression, including 19 scene modes, as well as a Creative mode that offers a total of 36 different effects.

The camera also features functions that make it easier to use as a high-power zoom model and ensure increased operability, such as a Snap-back zoom button and Side zoom control, as well as a shooting mode dial that enables immediate switching between frequently used shooting modes. It is also SnapBridge compatible, so high-quality images can be automatically downloaded to a smart device*3 for easy sharing.

  • *1 Equivalent focal length in 35mm [135] format.
  • *2 At the maximum image size. The maximum zoom ratio varies by image size. Dynamic Fine Zoom refers to the area in which the camera can zoom while maintaining resolution from the maximum zoom position, and is the combined ratio of optical zoom from the maximum wide-angle position and digital zoom.
  • *3 iPhone®, iPad®, iPod touch® and Android™ devices to which the SnapBridge app has been installed can be used. The SnapBridge app can be downloaded free of charge from the App Store® and Google Play™. See Nikon’s website for further information.

Primary features

  • 1. A compact body equipped with a 60x optical zoom lens that covers a wide range of focal lengths from wide-angle to super-telephoto

    The COOLPIX B600 employs a high-performance 60x optical zoom NIKKOR lens that covers the wide-angle 24 mm to super-telephoto 1440 mm*1 range of focal lengths. Sharpness is preserved throughout the digital zoom range, which is expandable to 120x*2, or a focal length equivalent to approximately 2880 mm*1, with Digital Fine Zoom realizing sharp and clear rendering even when shooting in super-telephoto mode. The COOLPIX B600 is also equipped with Macro mode, which allows users to enjoy macro photography with shooting as close as 1 cm (0.4 in.) to the lens at the maximum wide-angle position.

    • *1Equivalent focal length in 35mm [135] format.
    • *2At the maximum image size setting.
  • 2. Superior image quality that enables recording of beautiful stills and movies

    The combination of the backside illumination CMOS sensor and high-performance image processing engine EXPEED makes the most of the superior resolution of the high-performance NIKKOR lens, and enables recording of photos and movies with excellent image and picture quality, even at high sensitivities. The COOLPIX B600 is also equipped with a Vibration Reduction (VR) mechanism capable of reducing the effects of camera shake to the same degree as would a 3.0-stop* increase in shutter speed with still-image photography, and 4-axis Hybrid VR that effectively reduces blur with movie recording. This allows users to capture sharp photos and movies with noticeably less blur, even at the maximum telephoto position and in dark or dimly lit surroundings.

    • *Measured in accordance with CIPA Standards; at approx. 350 mm (equivalent focal length in 35mm [135] format).
  • 3. Diverse power of expression that is easy to achieve

    The COOLPIX B600 is equipped with a variety of functions that enable diverse power of expression, including 19 scene modes, with which the user simply selects the most appropriate mode for the scene, while the camera automatically applies the appropriate settings, as well as Creative mode with its 36 effects offering the optimal combinations of exposure, contrast, and color reproduction, making it easy for users to express themselves as intended.

  • 4. Superior operability that pursues user friendliness as a high-power zoom model

    The COOLPIX B600 is also equipped with a Snap-back zoom button that temporarily expands the visible area (angle of view) a certain degree while it is held down so that the subject may be reacquired. In addition, the Side zoom control enables smooth zooming even while recording movies.

  • 5. SnapBridge support for automatic transfer of photos captured with the camera to a smart device

    A constant connection between the camera and a smart device is possible using the SnapBridge app, built-in Wi-Fi®, and Bluetooth® technology. Not only can images recorded with the camera be transferred to a smart device automatically*1, they can also be automatically uploaded to Nikon’s photo sharing service, NIKON IMAGE SPACE*2. The SnapBridge app supports a number of other features as well, including the ability to add copyright information and comments, such as exposure information to images, and to automatically synchronize camera date/time and location information with that of the smart device. SnapBridge also makes remote shooting of still images possible with real-time display of the view through the camera’s lens in the smart device screen.

    • *1 Images are resized to 2 megapixels (2 million pixels) with automatic transfer. The transfer of original JPEG images and movies is not supported. Transfer of RAW (NRW) images is not supported.
    • *2 There is no limit on the number or size (volume) of JPEG thumbnail images (2 megapixels) that can be automatically uploaded from the SnapBridge app. Storage for original JPEG images is limited to 20 GB. A Nikon ID must be registered to take advantage of this feature.
  • 6. Additional features
    • A mode dial that allows users to easily apply one of the ten most frequently used shooting modes by simply rotating the dial to the appropriate icon
    • A Pre-focus function that is effective with zooming and shooting in dark or dimly lit surroundings due to the camera always focusing automatically
    • Target finding AF, where the user simply points the camera at the intended subject and the camera automatically predicts and focuses on it
    • Recording of 1080/60i (50i) and 1080/30p Full HD movies with stereo sound
    • Short movie show that allows users to easily create a movie up to 30 seconds in length from multiple movie clips
    • Support for the ML-L7 Remote Control, which is capable of a variety of operations over a Bluetooth® connection to the camera
    • Adoption of the EN-EL12 Rechargeable Li-ion Battery, which can be charged while inserted in the camera, over a USB connection

Nikon releases the COOLPIX A1000

A stylish and compact high-power zoom model with a built-in electronic viewfinder providing superior image quality and operability

Nikon Corporation (Nikon) is pleased to announce the release of the COOLPIX A1000, a stylish compact digital camera equipped with an electronic viewfinder that supports 35x optical zoom.

The COOLPIX A1000 boasts a compact size for ease of portability, and comes equipped with a 35x optical zoom lens that covers a range of equivalent focal lengths — from the wide-angle 24 mm*1 to the super-telephoto 840 mm*1 (Dynamic Fine Zoom further expands the zoom ratio to 70x*2). This allows users to easily enjoy super-telephoto photography that delivers images with sharp and clear resolution.

The COOLPIX A1000 supports a maximum sensitivity of ISO 6400. The camera is also equipped with a lens-shift vibration reduction (VR) function for still-image shooting, and hybrid vibration reduction (VR) for movie recording that is effective even when recording 4K UHD movies. The camera’s Active D-Lighting function reduces the loss of details in highlights and shadows in high-contrast situations such as backlit scenes. The function can be applied to both still images and movies. Additionally, photos can be captured in RAW (NRW) format, which allows users to process and edit images according to their own artistic preferences and intent without compromising image quality.

The COOLPIX A1000 is also equipped with a number of features designed to make this high-power zoom model easier to use. These include an approximately 1166k-dot equivalent electronic viewfinder with an eye sensor, a 3-inch, approximately 1036k-dot, tilting TFT LCD monitor with a touch screen, Snap-back zoom button and Side zoom control, as well as four exposure modes (P/S/A/M). The camera is also compatible with SnapBridge, an application that provides support for the automatic download and sharing of high-quality images using smart devices*3.

  • *1 Equivalent focal length in 35mm [135] format.
  • *2 At the maximum image size. The maximum zoom ratio varies by image size. Dynamic Fine Zoom refers to the area in which the camera can zoom while maintaining resolution from the maximum zoom position, and is the combined ratio of optical zoom from the maximum wide-angle position and digital zoom.
  • *3 iPhone®, iPad®, iPod touch®, and Android™ devices to which the SnapBridge app has been installed can be used. The SnapBridge app can be downloaded free of charge from the App Store® and Google Play™. See Nikon’s website for further information.

Primary features

  • 1. A stylish body equipped with a 35x optical zoom lens that covers a wide range of focal lengths – from wide-angle to super-telephoto

    The stylish COOLPIX A1000 is equipped with a high-performance 35x optical zoom NIKKOR lens that covers the wide-angle 24 mm to super-telephoto 840 mm range of focal lengths (equivalent focal lengths in 35mm [135] format). With Dynamic Fine Zoom, sharpness is preserved throughout the digital zoom range, which can be expanded up to 70x*, or a focal length equivalent to approximately 1680 mm (in 35mm [135] format), ensuring sharp and clear rendering even with super-telephoto shooting. Additionally, the A1000 is equipped with a macro close-up mode that allows users to enjoy macro photography when shooting as close as 1 cm (0.4 in.) to the lens at the maximum wide-angle position.

    • *At the maximum image size setting.
  • 2. Superior image quality that is sharp and clear, even when shooting at high sensitivities, and support for RAW (NRW) recording

    The COOLPIX A1000 has an effective pixel count of 16.0 megapixels. Its backside illumination CMOS sensor is capable of collecting sufficient light, even in dimly lit or dark surroundings, to capture a wide variety of scenes with superior image quality. It supports a higher maximum sensitivity, with a range of standard sensitivities of ISO 100-6400. The camera is also equipped with a lens-shift vibration reduction (VR) function. This ensures that images are sharp and clear, even in dark or dimly lit scenes. Further, support for RAW (NRW) recording has been added, allowing users of the COOLPIX A1000 to use Capture NX-D, Nikon’s RAW processing software, to create beautiful photographic works without compromising image quality.

  • 3. 4K UHD movie recording that supports vibration reduction (VR), and Active D-Lighting which prevents loss of detail in highlights and shadows

    The COOLPIX A1000 captures the finest details with its ability to record high-resolution 4K UHD (3840 x 2160 pixels) movies. The camera’s hybrid vibration reduction (VR) system, which combines lens-shift VR with electronic VR, can also be used with 4K UHD recording, enabling smoother and clearer hand-held and telephoto zoom recording. In addition, the Active D-Lighting function, which effectively reduces the loss of details in highlights and shadows in scenes exhibiting great contrast, such as those that are backlit, can also be applied during movie recording*.

    • *Cannot be used with HS 1080/4x (1920 x 1080) recording.
  • 4. Superior operability with enhanced user friendliness as a high-power zoom model

    The COOLPIX A1000 is equipped with an approximately 1166k-dot equivalent electronic viewfinder. The electronic viewfinder has an eye sensor that automatically switches the display between viewfinder and camera monitor as the camera is lowered or raised to the eye. Not only does viewfinder shooting achieve a steadier shooting stance that helps reduce camera shake – by making only the recordable angle of view visible – it also allows the user to concentrate on the intended subject, aiding the process of composing shots.

    The camera is also equipped with a 3-inch tilting monitor for which a touch panel has been newly adopted. The tilting mechanism makes shooting from high and low angles easier, and the approximately 1036k-dot LCD monitor, which supports a high-definition display and intuitive touch operation, enables smooth camera operations from shooting to image playback. In addition, the monitor uses an anti-reflection coating that makes viewing under strong lighting easier, ensuring better visibility even when outdoors in harsh lighting.

    The COOLPIX A1000 is also equipped with a Snap-back zoom button that temporarily shifts zoom position to the wide-angle side to some degree for easy framing when shooting fast-moving subjects or during super-telephoto shooting. Side zoom control that enables smooth zooming even while recording movies has also been added on the side of the lens. Other functions, including aperture, ISO sensitivity, exposure compensation, or white balance setting can also be assigned to the Side zoom control.

  • 5. SnapBridge support for automatic transfer of photos captured to a smart device

    A constant connection between the camera and a smart device is possible using the SnapBridge app, built-in Wi-Fi®, and Bluetooth® technology. Not only can images captured with the camera be transferred to a smart device automatically*1, they can also be automatically uploaded to Nikon’s photo sharing service, NIKON IMAGE SPACE*2. The SnapBridge app supports a number of other features as well, including the ability to add copyright information and comments to images, and to automatically synchronize camera date/time and location information with that of the smart device. SnapBridge also makes remote shooting of still images possible with real-time display of the view through the camera’s lens on the smart device screen.

    • *1 Images (JPEG) reduced to 2-megapixel equivalent can be transferred automatically. Automatic transfer of original JPEG images and movies is not supported. Transfer of RAW (NRW) images is not supported.
    • *2 There is no limit on the number or size (volume) of JPEG thumbnail images (2 megapixels) that can be automatically uploaded from the SnapBridge app. Storage for original JPEG images is limited to 20 GB. A Nikon ID must be registered to take advantage of this feature.
  • 6. Additional features
    • An MF peaking function that highlights areas in focus to make manual focusing easier (for still-image photography)
    • 20 creative modes support the application of preferred effects to photos (for still-image photography)

Articles: Digital Photography Review (dpreview.com)

 
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K&F Concept Nikon Z lens adapters start shipping on January 22nd

19 Jan

If you own a Nikon Z camera and still have a bunch of older lenses from other brands sitting around, K&F Concept’s new line of Nikon Z lens adapters, which will start shipping on January 22, could be worth a look. They could give your old lenses a new lease on life.

In total ten different Z-mount adapters will be available:

  • KF-FDZ for Canon FD mount
  • KF-EFZ for Canon EF mount
  • KF-PKZ for Pentax K mount
  • KF-NGZ for Nikon F mount (G-type)
  • KF-NFZ for Nikon F mount
  • KF-CYZ for Yashica-Contax mount
  • KF-OMZ for Olympus OM mount
  • KF-AAZ for Sony/Minolta A mount
  • KF-SRZ for Minolta MD mount
  • KF-42Z for M42 mount
  • KF-LMZ for Leica M

The adapters are made of brass and aluminum and manually operated. They’re also pretty affordable, with prices ranging from $ 30 to just over $ 60. You can find an overview of all adapters with more detail on the K&F website.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron confirms compatibility with Nikon Z6 for six of its Di, Di II lenses

18 Jan

Lens maker Tamron has confirmed new firmware issued at the end of last year to make certain lenses compatible with Nikon’s Z7 camera will also work for owners of the Z6. The firmware applies to six lenses from the Di and Di ll ranges, and allows the following lenses to be used with the cameras via the Nikon FTZ adapter:

  • SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
  • SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
  • 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon
  • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Nikon
  • SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Nikon
  • 17-35mm F/2.8-4 Di OSD (Model A037) for Nikon

(Links to firmware below)

Tamron initially faced issues with compatibility when the company’s lenses were used on the new Nikon mirrorless cameras, and issued new firmware for certain lens models at the end of last year to make them work with the Z7. This latest announcement appears to come after tests have confirmed that the same firmware also works when the lenses are mounted on the Z6.

Users need the Tamron TAP-in to update lens firmware – or a visit to a Tamron service centre. The TAP-in console costs around $ 60.

For more information see the Tamron support pages.

{pressrelease}

Notice about compatibility for Nikon Z6 with Tamron lenses for Nikon mount

Dear users and potential purchasers of Tamron interchangeable lenses.

Thank you for using Tamron products and for your continuous support.

We would like to announce that we have clarified compatibility for general operations (*1) of the following Tamron Di & Di II lenses with the latest version of lens firmware (*2) when used with the Nikon Z6 and Nikon mount adapter FTZ.

*1 Defined to work on existing DSLR cameras
*2 Firmware for Nikon Z7 (announced on November 16th and 22nd, 2018)

1. Compatible models for general operations

  • SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
  • SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
  • 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon
  • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Nikon
  • SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Nikon
  • 17-35mm F/2.8-4 Di OSD (Model A037) for Nikon

The lens firmware can be updated with the separately sold TAP-in Console.

If you do not have a TAP-in Console, please contact your nearest Tamron distributors.
For a list of Tamron distributors, click here.

2. Lens Update Service Information
https://www.tamron.jp/en/support/release_note.html

3. How to Update
https://www.tamron.jp/en/support/update.html

4. For other models, once we confirm the compatibility with Nikon Z7 and FTZ adapter, we will announce the models sequentially at our support website.

We are sorry to keep you waiting, and also ask for your understanding of the situation.

{/Pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
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