Schneider Optics iPro lenses in stock at B&H Photo

B&H Photo have the Schneider Optics iPro lenses in stock, at $99 for the x2 tele and $189 for the system (doesn't include the x2 tele lens), they're a compelling addition to the iPhone 4 and 4s. Please see our expert review at our sister-site, theappwhisperer.com.

Buy from B&H Photo (they ship worldwide).

Canon announces EOS-M as expected

After leaks via the rumor sites (presumably the soure is the affiliate retailers (not Amazon)) Canon has indeed announced their first mirroless EOS-M model as expected. Unfortunately, there is little in the way of innovation, though, like, Nikon they now have a platform to compete with the likes of Panasonic/Olympus and Sony, should they ever decide to do so.

All of the system can be pre-ordered at Amazon.

From this picture, the new mount adaptor appears not to have rubber sealing, suggesting no pro-level EOS-M model for sometime. Olympus recently upgraded theirs (MMF-3) for use with the introduction of OM-D and SHG lenses.

Canon set to launch mirrorless EOS M next week UPDATED

UPDATE: Images of the camera body (without lens attached) have surfaced on the net with what looks a 3:2 aspect ratio sensor (providing they're not photoshopped), suggesting Canon has chosen APS-C instead. If that is the case, it's almost certain to be the same sensor as found in the EOS T4i / 650D (though the camera will be without phase detection AF). Another image shows an 18-55mm EF-M lens, more-or-less confirming Canon has adopted the APS-C format for its mirrorless range.

Canon are set to launch a new mirrorless range next week, according to reports on the web, the first in the EOS M range is believed to be the camera shown above. The model shown features an interchangeable 22mm f/2 STM pancake lens. The STM lens uses a stepper motor for 'smoother' focusing operation (though by all accounts in its current form it's not noiseless, thus at odds with the intended video market). AF is performed by contrast detection (CD) sensors embedded in the CMOS imaging sensor, and was debuted in the recently announced EOS Rebel T4i / EOS 650D. As for for the size of the imaging sensor, we believe it will be smaller than APS-C, most likely a 4:3 aspect ratio 14.3 megapixel CMOS measuring 18.7x14mm, as used by the current G1 X. If so, the 22mm lens shown above would be the equivalent to a 40mm. At this moment in time it's all conjecture, however the new camera system is said to be revealed next week, most likely as early as Monday.

Via Digicame-info

Focus Shift with Nikon AF-S Nikkor 28mm f/1.8G

I'm currently reviewing the new Nikon AF-S Nikkor 28mm f/1.8G and one of the first tasks with any new lens is to check focus accuracy and to test for focus-shift. This particular lens and camera, a Nikon D800, showed consistent front-focus using AF and the combination also revealed focus shift. Both are problematic, though focus shift is the more difficult to deal with (requires conscious effort). To my knowledge there are no Canon or Nikon cameras that make any attempt to compensate for the effects of focus shift (unlike some MF cameras I could mention).

I've used the Michael Tapes Design Lens Align Mk II to demonstrate the focus shift - it's a first class focus calibration tool which was originally designed to highlight issues with DSLRs and AF lenses but it's perfectly suited for this particular purpose. The following images are unretouched JPEGs displayed at 1:1 in Adobe Lightroom 4.

F/1.8

This photo, taken at maximum aperture and focused manually using Live View on the targets (left) at a distance of 1m, shows the zone of focus to be over +6 to -2. This is, arguably, front-focused but it's nothing like the obvious front focus when using AF (the same targets are clearly out-of-focus).

F/2.0

There's no real difference at f/2.0, as you might expect.

F/2.8

Neither is there much difference at f/2.8 save for an increase in DOF; the zone of focus extends from +12 to -4.

F/4.0

By f/4.0 things are starting to get interesting, as there's a shift rearwards (back-focus). The zone of focus covers +14 to -11

F/5.6

It is at f/5.6 that focus shift is most noticeable, with the zone of focus covering +16 to -20. In fairness, the DOF is masking the issue.

F/8.0

At f/8.0 the effects of the rearward focus shift are quite apparent, with the focus zone covering +24 to -36

F/11.0

At f/11 the depth of field masks the focus shift on this scale, although the Lens Align moniker on the scale is clearly out.

F/16

At the minimum the DOF extends rearwards so that the chart behind is practically in focus while the front of the ruler/scale is barely in.

 

Summary

These results aren't quite as severe as the focus shift on the Voigtlander 35mm f/1.4 CRF lens tested last month but there is clear evidence of focus shift - we can see the plane of focus move rearwards indicating back focus (under-correction of spherical aberration). This could negatively impact on sharpness with high-resolution cameras, such as the Nikon D800 but I wouldn't call it 'severe', as other internet sites have, as it's mainly masked by DOF. I suspect one of those sites were seeing the effects of focus-inaccuracy rather than focus shift.

In all other respects, the lens performs well. I'll have more to say in a rolling review.

The Nikon AF-S Nikkor 28mm f/1.8G can be bought from Amazon in exchange for $699.

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Fujifilm X-Pro1 review

UPDATE: Fuji has announced the X-E1, a much more compelling offering on the face of it (it still has to be reviewed, but it looks promising). See here for the announcement.


After the unexpected success of the fixed lens rangefinder-esque X-100 Fuji were quick to develop and launch the X-Pro1, a similarly designed model featuring the unusual hybrid viewfinder but with interchangeable lenses. Fuji also used the opportunity to develop a new higher-resolution APS-C size X-Trans sensor with a unique RGB filter array consisting of 6x6 pixel sets as opposed to the conventional 2x2 tile arrangement.

The larger pixel set allows Fuji to adopt a more random RGB pattern which they claim leads to reduced moiré and improved colour accuracy yet at the same time allowing Fuji to drop the optical low pass filter (OLPF) of conventional sensor designs. As the OLPF is in effect a blur filter, everything else being equal, the benefit to X-Pro1 users should be an increase in fine detail rendering over a conventional 16MP sensor.

Fuji say this camera’s X-Trans sensor comes close in resolution to that of rival full-frame sensors with conventional filters, by which we’re to assume they’re referring to the then current 21MP Canon EOS 5D Mk II and not the 18-MP Leica M9 as that also lacks an OLPF, or anti-aliasing filter as it’s sometimes known as.

Pear Blossom, London, April 2012.

Fuji X-Pro1, ISO800, XF35mm f/1.4R at maximum aperture (in-camera JPEG).

Horse Box, London, April 2012.
Fuji X-Pro1, ISO400, XF18mm f/2.0R, taken at f/4.0 (in-camera JPEG, adjusted to taste in LR4).

Unfortunately, it’s not possible to say with any real certainty until a superior Raw file converter is available to the bundled Silkypix, as that appears to have poor demoasicing with the Fuji Raw files. Images appear quite soft and lacking in micro-contrast and it's not helped by the inclusion of a largely ineffective un-sharp masking tool. However, in-camera JPEGs suggest the X-Trans sensor is capable of resolving a little more than a conventional sensor but while moiré or false colour remains low it doesn’t appear to be able to match the fine detail rendering of files from a Canon EOS-1DsMk III.

Nevertheless, the X-Pro1 still has a lot to offer. While the layout is similar it’s bigger and heavier than the X100 taking its fixed 23mm f/2.0 into account and yet the ergonomics are largely superior. Like that camera though, the X-Pro1 is difficult to master. The hybrid viewfinder is a logical extension of that found in a rangefinder, but the shortcomings from parallax error with AF accuracy and composition mean you’ll almost certainly want to adopt the EVF option exclusively.

As electronic displays go it’s not bad in terms of detail but, as you might expect, it falls wildly short of the optical viewfinder in terms of dynamic range. Bizarrely, Fuji decided not to add built-in dioptre adjustment which, for those of us over 40, make the finder image difficult to see clearly without relying on third party lenses. Fuji claim the viewfinder’s 14mm high-eyepoint is comfortable enough for spectacle wearers. It isn’t. But perhaps the biggest disappointment with it, though, is the lengthy black-out time during capture.

As for handling, the body fits nicely in the hands but some of the controls appear almost randomly placed. The lens release button is situated in an awkward position and the AF point selection button is difficult to access with the camera up to the face. Some of the camera’s operation isn’t particularly intuitive either. At first sight the rear command dial seems under-utilized, most of the day-to-day operation is achieved using the other dials and buttons located around the body. But it’s this dial that’s used to access high magnification options during manual focusing and playback, yet it’s also supposed to be used to select options from a page of short-cuts, but it’s just too clunky for that.

Overall the body balances well with all three of the Fujinon-branded XF lenses currently available; the 18/2, 35/1.4 and a 60/2.4 macro. Of those, the 18/2 balances best, though it’s the weakest of three optically, at least when wide-open, stopping down the lens performs very well. The 35/1.4 is a truly excellent performer optically, even wide-open, though autofocus is tardy and noisy on all three optics.

Butterfly Girl (courtesy of Butterfly World Project), St Albans, April 2012.
Fuji X-Pro1, ISO400, XF60mm f/2.4R Macro, taken at f/2.8 (in-camera JPEG).

Part of the reason can be explained by the contrast-detection system employed, they’re rarely faster than phase-detection systems found in DSLRs. More telling perhaps is that all three lenses use front group focusing; speedier focusing would be achieved using rear group or internal focusing. Manual focus is also something of a compromise. The focus ring is generally smooth in use but there's a slight disconnect using the electronic control system. What’s more, the ‘gearing’ is low, so while it’s possible to make precision focus adjustments you can’t do so quickly.

Like others in Fuji’s X series, the X-Pro1 looks promising on paper but through a combination of tardy autofocus performance, complex and unintuitive handling and poor choice of control placement, it’s somewhat disappointing in use. Without unrestricted access to the camera’s Raw files, image quality is also difficult to assess at this time, although from the resultant JPEGs it appears the X-Pro1 is capable of outstanding image quality, excellent dynamic range and superb colour, even at high ISO settings. In terms of price it sits between the Sony NEX-7 and the Leica M9, and like those would complement a DSLR or medium format camera but by itself it’s less of a convincing solution.

Specification


Compact body with interchangeable lenses
Hybrid optical / electronic viewfinder (0.47-inch, 1.44M dot)
16.3-megapixel X-Trans APS-C CMOS sensor.
ISO200-6400, extended range ISO100 to ISO25600
3-inch (1.23M dot) LCD.
Magnesium alloy body
Continuous shooting in up to 6fps (up to 13 Raw + LF JPEG).
1280x720 / 24fps movie clips (max 29-mins)
Single SD/SDHC/SDXC slot
Body weight: 450g (15.6 oz) inc battery and SD memory card.

Amazon Links


Body only, $1,335 / £1173 inc VAT
XF 18/2 $599 / £485 inc VAT
XF 35/1.4 $599 / £475 inc VAT
XF 60/2.4 Macro $599 / £475 inc VAT

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Fuji X10 concise review
Fuji X100 concise review
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Olympus announce firmware update for OM-D E-M5

Olympus have released a firmware update for the OM-D E-M5.  

The update will be available on the OIMC website from today.

Compared to the firmware version 1.1 the new version 1.2 has following improvements:
    •    Improved sleep recovery operation
    •    AF target is indicated while using C-AF+TR in sequential shooting mode L
    •    M.ZUIKO DIGITAL ED 12-50mm 1:3.5-6.3 underwater support has been added when using underwater macro or underwater wide mode the lens will move automatically in tele or wide setting

Nikon announces development of AF-S 800mm f/5.6 G VR as expected

After a report on this site of a patent application shown late last year, Nikon has now officially announced the development of an AF-S 800mm f/5.6 G ED VR. A prototype will be shown to professional photographers at the Open Golf Championship at Royal Lytham & St. Annes Golf Club in Lancashire, England, between July 19th and 22nd 2012. I also expect the prototype lens will be used at the Olympics in London later this month.

The above diagram which was used to describe the optical construction in Nikon's patent application last year shows internal focusing (IF) at G2 and VR compensating optics at G3, the latter accounting for the high number of elements in modern telephoto designs. It's also safe to assume that this lens will also feature a SWM and Nano Crystal coat.

Nikon's last 800mm f/5.6 was a manual focus AI-S lens, with 8 elements in 6 groups. The Nikkor 800mm f/5.6 IFED, shown above weighed 5450g and was produced in batches between 1986 and as late as 2005, though I can't actually believe that they made any after 2000.

Press release


Nikon announces development of F-Mount 800mm super-telephoto lens

Amsterdam, The Netherlands, 12 July 2012 Nikon today announced the development of a ground-breaking super-telephoto, fixed focal length lens to add to its line-up of full frame (FX) NIKKOR lenses. The 800mm, AF-S lens, with a bright aperture of f/5.6 and VR (Vibration Reduction) system, will be fully compatible with the auto focus system of all Nikon FX-format cameras.

The new lens has been developed to further strengthen the NIKKOR line-up of super-telephoto lenses. It will boast the longest focal length of any NIKKOR autofocus lens, and has been designed with field sports, news and wildlife photographers in mind. In addition to its superior optical performance, the lens will offer dust and water resistance.

“We are very excited to showcase a ground-breaking new milestone in NIKKOR development at this summer’s major sporting events” said Robert Cristina, Manager, Nikon Professional Services, Europe.
“It reflects our on-going philosophy to turn ‘feedback into fact’ for the world’s leading news, sports and wildlife photographers,” he added.

A prototype of the new lens will be premiered to professional photographers at the Open Golf Championship at Royal Lytham & St. Annes Golf Club in Lancashire, England, between July 19th and 22nd 2012. Nikon has been an official sponsor of The Open Championship since 1993. The lens will also be on show to the general public visiting Photokina 2012, the world’s largest photo and imaging exhibition, in Cologne, Germany, from September 18th to 23rd.

Earlier this month, Nikon announced that total production of NIKKOR lenses for interchangeable lens cameras had reached seventy million and that the total production of AF-S lenses equipped with the Silent Wave Motor (SWM), the autofocus motor developed by Nikon, had reached 30 million. This year, Nikon released three professional FX-format D-SLR cameras: the flagship Nikon D4, the Nikon D800 and Nikon D800E, which offer incredible resolution and image quality.

An on-sale date, suggested retail price and further specifications will be announced by Nikon Corporation at a later date.

Related Posts


Nikon to introduce an AF 800mm f/5.6 telephoto with VR?

Bowens adds Limelite LED panel to lighting range

Bowens, the UK lighting manufacturer, has announced a new daylight only LED panel for videographers (and stills photographers).The 30x30cm panel provides 4200 Lux of high quality, brilliant 5600°K daylight and retails at £714.00 (inc. VAT). There's no word on availability and the Limelite website is showing the panels and accessories as currently 'out-of-stock'.

Press release:

Bowens’ Limelite launches new ‘three times brighter’ LED panel for videographers

Bowens has launched Mosaic Daylight - a new high specification, lightweight LED panel for both studio and location video lighting and photography.

The company, which is marketing the unit under its new Limelite videography subdivision, says the panel is capable of producing output three times brighter than more expensive lights of similar size.

The rugged 30x30cm panel provides 4200 Lux of high quality, brilliant 5600°K daylight and retails at £714.00 (inc. VAT).

Robert Cook, Bowens marketing director said: “This new panel with its multiple power, control, mounting and usage options, together with the renowned Bowens build quality, is one of the most versatile, reliable and value for money LED panels on the market. It features 576 ultra-bright LEDs, dimmable from 100-0% - providing output around three times as bright as more expensive, similar-sized lights. The difference can be clearly seen in the amount of usable light projected over greater distances.

The Mosaic, with its mains power and industry standard V-lock battery operation available out of the box is ready to go when you are – anytime and anywhere.

The unique intuitive onboard digital control panel with its bright, clear digital display makes operating the Mosaic quick and easy and with full DMX ‘in and out’ control, remote functionality is equally simple.”

He added: “LED panels are traditionally seen as video lighting but the new Mosaic Daylight features a unique f/stop mode which converts the display to show light output in f/stops – making this panel equally practical for photographers.”

MOSAIC FEATURES:
• Compact, lightweight, 30x30cm daylight LED panel.
• Strong metal construction designed to withstand professional handling.
• Ultra-bright 576 LED configuration provides 4200Lux at 1m.
• Stable 5600K daylight output to +/- 200K.
• Bright LED control display provides clear indication of light output and DMX settings. 

• Option to display output in numeric increments of f-stop.
• RJ45 DMX in and out on-board as standard.
• Kit includes V-mount battery adaptor plus multi-voltage AC mains adaptor.
• Optional Anton Bauer battery adaptor available.
• Mounts to any 5/8" support devices including stands, booms and HiGlide fittings.
• 2 and 4-panel mounting kits available for building larger banks of light.

* A complete range of accessories including barn doors, colour control filters and battery mounts is also available for the Mosaic. And UK, Euro and USA power cables are available separately to allow videographers and photographers to use the Mosaic Daylight LED panel anywhere in the world.

The new LED panel is available from video and photographic dealers. More information is available on the Limelite website at www.limelite.uk.com

 

Lexar to make XQD memory cards

Lexar has announced that it will support the XQD™ memory card specification for compatibility with Nikon D4 and future XQD-based camera models. The first cards are expected to be available in the third quarter of 2012.

Apart from the obvious adavantages of increased data transfer, this design is a significant step forward from the delicate pin-connector system used on CF cards (and readers).

Press release:

Lexar Announces Support for XQD Memory Card Specification

Lexar XQD Memory Cards to be Compatible with Nikon D4 and Future XQD-based Camera Models
 
Fremont, CA, 11 July, 2012 – Lexar, a leading global brand of flash memory products, today announced its support of the XQD™ memory card specification for compatibility with Nikon D4 and future XQD-based camera models. Expected to be available in the third quarter of 2012, Lexar® XQD memory cards will offer high-speed performance in a range of capacities to effectively capture and store high-quality images, 1080p full high-definition (HD) video, and 3D video content.
 
“By collaborating with Lexar, we’re reinforcing the fact that the XQD specification represents one of the futures of high-performance memory cards,” said Nobuaki Sasagaki, General Manager of marketing department, Imaging Company, Nikon Corporation. “Our cooperation efforts demonstrate the vision shared by Nikon and Lexar to continue advancing the photography and imaging market with innovative technology and extremely high performance.”
 
“We are committed to offering innovative and industry-leading photography solutions, which is why we’re working with Nikon to offer and co-market XQD memory cards. We view the XQD standard as one of the most logical ways to increase interface speed beyond that of existing CompactFlash technology with the capability of offering performance up to 5Gb per second, in time,” said Wes Brewer, vice president of products and technology, Lexar. “This collaboration provides assured compatibility with Lexar XQD memory cards and Nikon D4 and makes this technology available to the entire photo industry.”
 
XQD memory cards are based on the PCI Express® specification, which offers 2.5Gb per second performance today with plans for 5Gb per second performance in the future.

Calumet UK offer Canon EOS-1D X test drive

Press release:

Your chance to ‘drop in’ on the new Canon EOS-1D X

Calumet is offering photographers a unique opportunity to ‘test drive’ the new Canon EOS-1D X, dubbed ‘the next generation camera for professionals’.

The photographic retailer has scheduled a series of special ‘Drop In’ and ‘Mentor Me’ days nationwide during July and August.

Explained Sian Hamer, Calumet marketing executive: “This is a chance for photographers to book a free and bespoke thirty minute session with a Canon expert to get hands on with this flagship Canon DSLR for professionals. At ‘Drop In’ days photographers can get expert advice on the 1D X with its 18.1 MP full-frame CMOS sensor; 12 frames per second shooting capability; high resolution solution’ in the darkest conditions and an Ethernet port for fast image transfer.”

She added: “ The ‘Mentor Me’ programme is the option photographers can choose if they are seeking help and advice with any product in the Canon portfolio and looking to improve their overall levels of skill using Canon equipment generally.”

‘Drop In’ and ‘Mentor Me’ days: summer schedule
July 23: Calumet Drummond Street, London (1D X Drop In day)
July 24: Drummond Street (Mentor Me day)
July 25: Calumet Bristol: (1D X & Mentor Me day)
July 26: Calumet Manchester (1D X Drop In day)
July 27: Calumet Manchester (Mentor Me day)
July 30: Calumet Birmingham (1D X Drop In day)
July 31: Calumet Birmingham (Mentor Me day)
August 1: Calumet Edinburgh (1D X & Mentor Me day)
August 2: Calumet Glasgow (1D X & Mentor Me day)
August 3: Calumet Belfast (1D X & Mentor Me day)

Interested photographers can reserve their 1-2-1 appointments with a Canon specialist at any of these events by registering at www.calumetphoto.co.uk/eng/pages/canonevents.cfm

Olympus OM-D EM-5 carries Sony sensor, yes or no?

[Update] -The general consensus is that the OM-D E-M5 uses a Sony made sensor, and that is interesting for a number of reasons. When I attended the launch of the Pen E-P3 in Vienna, Austria the rumor beforehand was that sensor was made by a rival to Panasonic, but when it was subsequently announced at 12-megapixel, everyone (me included) assumed the sensor was from the same source. But what if it wasn't? And what if the sensor used a four-colour filter array; R, Gr, B and Gb (emerald)? Who might have made that?

At first I discounted reports that the Olympus OM-D E-M5 carried a Sony made sensor, simply because it requires a huge investment to fabricate a new format like this for a single camera manufacturer, let alone a single model. But the Japan based site, DC Watch are reporting the comments made about Sony as the fab-maker by the Olympus President were directed towards the camera and not a microscope, which was apparently the subject being discussed at that time. Sony is a supplier of sensors for the maker's digital compact cameras, as well as their microscopes it seems, but we're still really none the wiser concerning the origins of the sensor in the OM-D EM-5. A spokesperson for Olympus UK declined to comment.

Nikon D800 and D800E in stock at Amazon

The Nikon D800 is in stock at Amazon for $2,999 and so to is the D800E at $3,299, albeit in very limited numbers.

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