Lexar Workflow HR1 Hub and Card Readers, initial impressions

I've been using the new Lexar Workflow HR1 Hub (available to pre-order here) for a few days and I thought I would share some thoughts on it before reviewing it (maybe not here on my site as I'm very busy - it depends on how much interest is shown, I guess).

The first thing to note is that it's a USB 3.0 powered hub, and, if you haven't realized already it doesn't come with any card readers - they're extra, although at $28.41 each the CF and SD (SDHC/SDXC) relatively accessibly priced. If all four bays are used, that's a total of $193.60, and getting on to be pricey. Where things get interesting is of course that the hub is designed to be 'future-proof'. When a new card standard is launched, all you need do is swap out the card readers. And, to prove the point Lexar has announced a card reader for XQD cards, presently only used by the Nikon D4. At $44.99 / 39.95, it's pricier than the standalone Sony XQD Memory Card Reader but slightly lower than the firm's equivalent offering. I'm assuming they're positioning the hub for the new CFAST cards and others in pipe as well, but there's no mention of specifics currently, only a hint.

It shouldn't be a issue, as the card readers themselves can be used as standalone readers, which is neat, and come supplied with a USB 3.0 cable and soft neoprene cover to prevent detritus from enter the card slot. Each card reader slots into a male USB 3.0 connector at the rear of the reader bay, so it's a simple plug and play device. As for transfer speeds I've yet to really put it to the test - my main Mac is USB 2.0 though I will try it with an excellent photo-oriented Chillblast (UK custom-built) USB 3.0 PC that I have in for testing.

 

Canon EF 24mm f2.8 IS first impressions

I've had the new 24mm f/2.8 IS lens in for about a week or so and have decided to give a few first impressions prior to a in-depth review (maybe not here, on this site, as lens reviewing is time consuming). At $849 or £749 (inc 20-percent VAT) this new lens and its sibling, the similarly priced 28mm f/2.8 IS, is not inexpensive*. Indeed, it is nearly twice the price of the old version. But that could be offset by the optical quality, or imaging aesthetic.

The beauty of this lens, of course, is the Image Stabilization (IS) option, which allowed this critically sharp image at f/8 using a handheld shutter-speed of just 1/40sec, lower than I would normally like even when using a 24mm wide-angle. The picture was taken with a Canon EOS 5D Mk III at ISO1250.

I'll reserve judgement on the optical quality for now until I've taken more images and performed my usual tests. Although this is pure speculation on my part, I don't think this lens was made for the EOS 5D Mk II or MK III (or the EOS 1D series either). Are we going to see a smaller, lighter, cheaper full-frame body in the near future? I think so.

* Also, bear in mind that the lens is delivered without a lens hood nor a soft case.

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.

Related Posts

Focus Shift with Voigtlander 35mm f/1.4 Classic MC

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

Related Posts


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Fuji X10 concise review
Fuji X100 concise review
Fuji IS Pro UV-IR DSLR review

Focus Shift with Voigtlander 35mm f/1.4 Nokton Classic

I am currently reviewing the Ricoh GXR A12 M-mount body and have the super-compact not to mention super fast Voigtlander 35mm f/1.4 Nokton Classic MC rangefinder lens for review also. Before the reviews are published I thought I would show the focus shift that this particular lens exhibits. On a camera like the Ricoh GXR M-mount (or, for that matter, any mirrorless camera using an adaptor) this particular characteristic isn't really an issue, providing you focus at the taking aperture. It is, however, a distinct issue if you focus at the maximum aperture and then stop down to the taking aperture or if you're using a coupled rangefinder such as the maker's own Bessa models or a Leica M series, which do not compensate for focus shift.

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/1.4

At maximum aperture, this is about as accurate as we can get (at a distance of around 3 1/2 feet), using focus peaking and the somewhat poor resolution of the Ricoh's VF-2 viewfinder in magnified mode. We've focused on the target to the left. If you look at the ruler to the right, focus is centered evenly on the +4 0 -4 digits.

If you're concerned by the amount of LoCA I can say that photographing targets with high contrast edges like this at close distances easily reveals this trait and others (such as SA) but real world images aren't likely to look quite so aberrated.

Besides, as you can see from the photo above, I can remove nearly all traces of LoCA in the latest version of Lightroom 4 - it's one of the most powerful features of the recent upgrade and one of the reasons why I recommend the utility for professional users.

F/2.0

Focus shift is immediately apparent at f/2.0, as the focus plane has shifted rearwards (exhibiting back-focus) with the depth of field over +12, 8, 4, 0 -4 (the +12 and -4 being equally unsharp)

F/2.8

By f/2.8 the depth of field continues to expand but the red ±0 is now out of focus, with the focus plane being over +24 to +4 range and the sharpest point of focus being around +20 to +16

F/4

At f/4 the focus shift continues rearward with the sharpest focus point being around +26 to +20, note the red colored rear target intersecting the large 4 is clearly in focus.

F/5.6

At f/5.6 the depth of field is beginning to encompass the original focus target (it's still a bit soft however) but the point of sharpest focus remains to the rear at around +36 to +20.

F/8

Much the same can be said at f/8, only now the depth of field now encompasses the original focus target (though the sharpest point of focus remains rearward at +36). And things don't change at f/11 or f/16 (there's little point showing those). Apart from the focus shift there's a lot to like about the Nokton, which we'll reveal in our forthcoming review so please check back for that.

The Voigtlander 35mm f/1.4 Nokton Classic MC can be purchased online in the UK at pro-dealer Robert White.

Nikon AF-S 17-35mm f/2.8 best wide-angle zoom for Nikon D800?

Introduced at the same time as Nikon's first digital SLR the APS-C format D1, the Nikkor 17-35mm f/2.8 was made not only to replace the earlier AF 20-35mm f/2.8D IF but to compete with and out-perform the rivals. Nikon may be slow in producing top-quality lenses, at times, but they look closely at competitive offerings before announcing new models that can out-do their rivals optically and mechanically.

Such is the case with this particular optic, and is still available today in spite of the more recent and impressive AF-S 14-24mm f/2.8G and 16-35mm f/4G VR models. Both are said to be mighty fine performers (I have no personal experience of the 16-35mm f/4 VR) but I've not been inclined to replace the 17-35mm f/2.8. First, the AF-S 14-24mm f/2.8 is large and heavy, especially on a pro-body but it''s still a handful on a D700/D800, while the 'compact and affordable' alternative, as Nikon claim the 16-35mm f/4 VR to be, just doesn't seem to be as compelling as the 17-35mm f/2.8. Not only can it serve as a formidable landscape lens, which the 14-24mm can not (due to the wildly convex front element and lack of a front filter thread) but because of the manual aperture ring, will also be of immense interest to those using video.I don't need to tell Canon users that Nikkor lenses can be fitted (courtesy of an adaptor), and, indeed, are favored for their manual aperture rings, along with Nikon's reputation for low chromatic aberration (especially on wide-angle primes and zooms).

Like Canon EF lenses, Nikon's newer G-series lenses (such as the 14-24mm / 2.8 and 16-35mm f/4 VR) lock out rival maker's bodies and the one or two Canon to Nikon G-series adaptors that are available commercially (we use a high quality Novoflex version) don't allow you to select a particular aperture. There is no aperture readout in the cameras' viewfinder as the lens adaptors simply operate a lever opening and closing the diaphragm (albeit steplessly, which is a plus).

Pricing

Perhaps that's the reason why the 17-35mm f/2.8 continues to be made and is available from US retailers for about $1,770 (with USA warranty) or around £200 less as an (gray) import. Part of the reason that this lens is expensive can be attributed to lower production volumes now the newer models exist but there are other reasons as well. This lens has two large precision ground aspherical elements (the front element, for instance), one composite asphere and two ED glass elements, instead of the usual one (if you're lucky). Due to thermal expansion characteristics, this lens focuses beyond the infinity mark.

Performance

Abbey Altar. St Albans. England. May 2012. Nikon D800 with 17-35mm f/2.8 @ 17mm f/4, ISO 6400

Nearly of the reviews I've read about this lens make some reference to the AF-S 17-55mm f/2.8 as result of there being only DX camera bodies available at that time but things have moved on and there is renewed interest in the 17-35mm f/2.8 with FX bodies, especially now that the D800 has been introduced. However, if you're using a DX camera (and as of now that means either the D7000 or D300s) and have no intention of buying a full-format (FX) model, then between the two you should choose the AF-S 17-55mm f/2.8. Besides the extra range and disproportionately lower price, it's close in both AF performance and optical quality, color, and sharpness. That said, I still prefer the contrast and drawing style of the 17-35mm f/2.8. Images from the AF-S DX 17-55mm f/2.8G, in my experience, look excellent on a technical level but appear somewhat sterile (and I have both).

The 17-35mm is less prone to flare, but it's not impervious to it as I was reminded only recently when a shot taken using a D800 directly facing the sun coming through a window just above the subject caused some veiling glare. Like most modern Nikkors, the 17-35mm has a nine blade diaphragm to produce attractive circular highlights and improve bokeh. Few zooms have attractive out of focus planes and wide-angles less so (in any-case, strongly out of focus backgrounds and foregrounds are far easier to achieve with longer focal lengths, such as a 50mm or short tele) but the 17-35mm f/2.8 has none of the harsh double-edged effects seen in less capable optics and is quite acceptable. Longitudinal CA (sometimes refereed to as purple fringing, most noticeable at wider apertures) is low on the Nikon D800 but there is some lateral CA, though this is easy to remove in post (using Lightroom 4) There's also some vignetting at the maximum aperture, but this too can either be removed in-camera (on JPEGs) or in software later. It's not unexpected and no worse than rival offerings. As you can see from the picture above, there's some barrel distortion but it's reportedly lower than the Nikon 16-35mm f/4 VR (I've not tested that model but I've seen sample photos of distortion).

Mechanical Quality

Ford. Redbournbury. England. May 2012. Nikon D800 with 17-35mm f/2.8 @ 17mm f/4, ISO 6400

If you're familiar with Nikon's older manual focus lenses then you'll be pleasantly surprised by the quality of the 17-35mm f/2.8. The only really noticeable difference between them is that this lens, like others of the same period, has a plastic aperture ring though it is engraved still thankfully. This is an autofocus lens, however, so there are no brass helicoids, but the focus ring is smooth and not too highly geared, allowing large but precise adjustments. Auto-focus is very fast, near-instant and, unlike others that adopt a silent wave motor (SWM), practically noise -free.

The outer barrel is made from heavy-duty aluminum alloy and has the same durable construction that can only bee seen today in Nikon's top pro-quality super-telephotos, such as the AF-S 400mm f/2.8. If there's a shortcoming it's that there's no weatherproof sealing, and no rubber seal at the lens mount. The lens comes supplied with an old-fashioned rigid lens-case, pinch front and rear caps.

While well-made, the case isn't much use, to be honest. I prefer the soft, draw-string pouches but even those can be a pain to work from, so they're best used for storage. The supplied (HB-23) hood is really the only disappointment out of the whole package, and I rarely use it. It is the same one that's supplied with the 12-24mm f/4G and 18-35mm f/3.5-4.5D lenses. Nearly all Nikon hoods appear to be made by a third-party, and can all be characterized by fitting too tightly (the exception to this is the huge hood for the AF-S 17-55mm f/2.8 (28-70mm equivalent) for DX cameras). Fortunately, the hood bayonets onto the outer barrel so it can't do any damage as it might to the extending barrels of lesser lenses. Still, it can be recommended to protect the front element, to a degree.

Shrine of St Alban. St Albans. England. June 2012. Nikon D800 with 17-35mm f/2.8 @ 17mm f/5.6, ISO 6400

Of course, now Nikon has the 36-megapixel D800 and D800E variant, interest in a suitable high-quality wide-angle zoom is paramount. For photojournalism and human interest / documentary work, the fast-focusing AF-S 17-35mm f/2.8 is the obvious choice. This lens performs remarkably well even at maximum aperture the centre has high sharpness and good contrast, meanwhile the low chromatic aberration and easily correctible barrel distortion make it equally suitable for landscapes, interiors and architectural photography alike.

Links


The Nikkor 17-35mm f/2.8D ED-IF AF-S is available from:

B&H Photo (USA warranty) $1,769.00

Adorama (USA Warranty) $1,769.00

Amazon (in-cart price) $1,719.95 (USA warranty)

Amazon UK £1,495.25

Sony NEX-7 review

Sony introduced the NEX mirrorless range early in 2010 with the intention of attracting beginners stepping up from a compact. These customers, the company suggested, had little interest in the maker’s traditional DSLR range, and would prefer the smaller, lighter and easier to use NEX models instead. While that might well be the case, adopting the same APS-C sensors as their DSLRs and with a short 18mm flange back distance, allowing the use of practically any lens with an appropriate adaptor, it’s not much of a stretch to see how those cameras might benefit professional users. While Canon and Nikon continue to push the DSLR for professional use, with the introduction of this model, Sony appear to be hedging their bets between systems.

And, it’s not a bad strategy. Indeed, the NEX-7 shares many of the same features and therefore capabilities of the Alpha SLT-A77, including the 24-megapixel Exmor CMOS sensor with 1080/50p/50i/25p* video, incredible 10fps continuous shooting and remarkably detailed OLED electronic viewfinder. All of this Sony has achieved in a body reminiscent of a rangefinder, with the EVF installed in the top-plate to the far left without any unnecessary disruption to the body’s angular lines. Although it’s good, very good, it’s not the equal of an optical viewfinder, just yet. But, it has good contrast and colour while being ergonomically superior to using a loupe over a screen on a rival DSLR for video capture.

If the EVF is remarkable so to is the camera’s layout and ‘Tri-Navi’ controls consisting of two metal-alloy dials on the top plate and a third, more conventional direction-pad on the rear. While the two top-dials aren’t configurable, aperture values, shutter speeds and EV shift alternate with the shooting mode selected. They also alter other settings, for instance WB, AF modes, still/video image profiles, and more when used with a function button placed next to the shutter release. The direction pad is configurable, though likely best left to select sensitivity (useable up to ISO6,400 though offering a maximum of ISO160,000 in stills, ISO3,200 in video). Between them, the Tri-Navi dials are a triumph of simplicity, and vastly superior to the NEX-5n even though the three additional soft keys, primarily for the selection of the exposure modes and menu access are present on both.

While the exposure mode is selected by just a button push and a quick flick of any one of the Tri-Navi dials, the main menu isn’t particularly intuitive or, easy to navigate and selection requires multiple button pushes. Certain features aren’t grouped logically, adding to the problem of navigation generally. The NEX-5n is the same, but the touch sensitive panel of that model helps with selections. Oddly, the NEX-7 dispenses with that but retains the same highly detailed pull-out 16:9 aspect 3-inch LCD panel that’s essential for waist level stills and video capture. By default, movies occupy only a part of the screen, which seems an odd choice but at least there’s an option to utilize the whole of the screen’s real estate, even if it isn’t immediately apparent from the menu.

The large built-in handgrip is the best of the mirrorless models, including the Panasonic Lumix GH-2, the nearest rival in terms of stills and video capabilities. A dedicated video capture button perilously placed on the thumb-grip to the rear is easy to activate accidentally but doesn’t detract from the exceptional video capabilities and high quality capture. Like the GH-2, the NEX-7 has full manual control of Av, Tv and ISO during video capture. Combined with the optional Focus Magnifier as well as the outstanding live focus peaking option, critical manual focus is easy to achieve using either Sony lenses or third-party optics with a mount adaptor. Autofocus is possible during video, and there are several choices available over the expected centre and multi-point options including face detection and focus tracking but in low light levels, whether for stills or video, the contrast detection based system struggles. Faster lenses mitigate this but AF operation is slightly behind the current Olympus PENs and Nikon 1 bodies.

Be that as it may, operation is swift, and shutter lag, when pre-focused, is lower than the Nikon D3s. Stills image quality is excellent but you’ll need the very best in optical quality and focus accuracy to achieve the sensor’s potential. In camera JPEG processing reveals slightly aggressive noise reduction even at lower ISO’s, reducing small structure detail somewhat but that’s not an issue when shooting Raw. The NEX-7 is capable of delivering hugely detailed files unmatched by rivals using an APS-C sensor, though the standard kit lens isn’t a particularly strong performer. Sony desperately needs to widen the E-series range adding more high-quality primes such as the superb Sony Zeiss 24mm f/1.8 Sonnar T*. While that is neither small nor cheap, it’s a great match for what it is, arguably, Sony’s finest camera to date.



Samples





London skyline, Primrose Hill, London. Sony NEX-7 and Zeiss 1,8/24 T* (35mm equivalent).





Regent's Park Road, London. Zeiss 24mm f/1.8 at f/1.8 - some slight longitudinal CA is noticeable in the out-of focus highlights but the lens is otherwise an excellent performer.

*Please note the Sony NEX-7 is region specific, so you can't switch a PAL version to NTSC to access 1080/60p/60i/24p unfortunately. If you work with both standards you'll need to source two bodies - please use our links below.

Sales


If you found this review helpful and intend to remunerate us for this expensive and time-consuming work, please clear your browser's cache of cookies if visiting from a referring photo-site before clicking on our links, as we're unlikely to receive the commission from the retailer. Thank you for buying through this site's links.

Body only prices at:

Jessops (£999 inc VAT)

WEX UK (£995 in VAT)

Adorama ($1,119.99)

Amazon ($1,199)

B&H Photo $1,198 (Pre-order, released in limited quantity)

Sony Zeiss 24mm f/1.8T* (35mm-e):

Jessops (£849.95 inc VAT)

WEX £849 inc VAT

Adorama ($1,098)

B&H Photo ($1,098 back-ordered)



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Sony 24mm f/1.8 Zeiss Sonnar T* sample images

Nikon 1 V1 review

Panasonic Lumix DMC-G3 review

Fujifilm X100 concise review

Leica M9 concise review

Fuji X10 concise review

After the success of the fixed lens retro APS-C format X-100, Fuji has applied the same design criteria to a digital compact camera with a built-in zoom in a bid to rival the likes of the Canon G-12, Panasonic Lumix LX5 and Olympus XZ-1. It differs from those models by adopting a 2/3-inch type Fuji made EXR CMOS sensor, that’s at least 25-percent larger in surface area while still maintaining a compact size body and fast f/2.0-f2.8 zoom lens. The Fuji made Fujinon-branded metal barreled zoom is not quite as fast as the f/1.8 Zuiko on the XZ-1 but it’s the same 28-112mm equivalent range and is not a great deal larger overall. Surrounding the lens is an unusual inclusion, a nicely knurled manual zoom ring that doubles as a power-on switch. It’s an attractive feature, certainly in-keeping with the retro design, and an improvement over the usual powered zoom options found on rivals, but the mechanism doesn’t feel particularly durable.

Under the satin black magnesium top cover the inclusion of an optical viewfinder using glass elements and prisms as opposed to the more common plastic construction is another welcome feature. It lacks the sophistication of the hybrid LCD/optical viewfinder of the X100 but it’s more useable than that found on Canon’s G-series. As Fuji claims, the image is bright but what they don’t say is that the lens barrel obscures the lower right corner of the frame at the shorter focal lengths. With coverage at 85-percent very careful framing is required and as there’s no viewfinder information it’s tempting at times to use the rear fixed 420k pixel LCD. If you’re familiar with the X100, the info display is very similar.

Manual focusing is possible using the rear command dial, and the distance and depth-of-field scales are shown but it’s a fiddly arrangement. Autofocus, on the other hand, is generally very reliable, with few shots lost from inappropriate AF point selection. If greater reliability is required, however, a centre AF spot, aligned with the viewfinder’s cross hairs, is a comfort for more conservative users at up to 7fps (in Large Fine quality).

Layout of the X10 mimics that of its larger sibling, the X100. The easily dislodged exposure compensation dial of the earlier model has been replaced with a more highly tensioned unit, but the main dial on the top plate no longer shows shutter speeds but exposure modes instead. The X10 also loses the aperture ring from the lens and follows most rivals, the exception here being the XZ-1 (which has a very useful control ring surrounding the lens) but means shutter speeds and aperture values must be selected from the X10’s rear command dials, and checked using the rear LCD. This extra step means you can make reliable adjustments when using the viewfinder, and it’s the same when selecting sensitivity.

The X10 has a programmable Function (Fn) button close to the shutter release, so you can customize it to display ISO settings on the rear screen but it can only be used for one function at time. I would have preferred a scrolling feature with an option for several functions or even a dedicated ISO dial, perhaps in place of the EV compensation control. Fuji’s main menu system isn’t as logical or intuitive as the current best (from Canon and Olympus), indeed, it’s fairly troublesome to navigate; in part due to the structure but also because of the somewhat fiddly direction-pad. Of all the niggles, it’s perhaps the most perplexing, though you can pretty much avoid it once the camera has been set-up.

To be fair the X10 performed well. Like other Fuji cameras the Film emulation settings (Velvia, Provia, Astia as well as some B&W options) are attractive when looking for in-camera produced JPEGs. Fuji’s EXR sensor and Fujinon lens is capable of producing files with excellent tonality and sharpness, as well as a high degree of resolving power. Some slight fringing was noticeable on high contrast edges, and the lens can flare heavily but an optional lens hood is available. Images are usable up to ISO800 before noise and detail are at odds and the movie clips are surprisingly clean. Fuji’s decision to include recording times of up to 29-minutes at 1920x1080p betters many DSLRs while both the manual zoom and focus options become more relevant. Rivals with articulated screens, such as the Canon G-12, Nikon P7100 and the Olympus XZ-1 using an optional EVF may be the more user-friendly for video and cost less (the exception being the XZ-1 EVF combination) but they can’t compete with the X10’s graceful lines and only the Olympus comes close to matching the Fuji’s files in colour and imaging quality.





Fuji X10 set at 7.1mm (28mm equiv) f/4.0 at ISO100. Auto EXR mode.

To Buy


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Adorama $599.95
Amazon US $599.00
B&H Photo $599.00

Amazon UK £391.50
Jessops £406.00
Wex £399.00

Thank you for buying from this site's links.

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Sony 24mm f/1.8 Zeiss Sonnar T* sample images

I had the opportunity to test the Sony 24mm f/1.8 ZA Carl Zeiss Sonnar T* lens on a NEX-5n recently and despite the lack of a distance scale and depth-of-field markings the lens is a joy to use. It's also a world class performer optically*, and should perform equally well on the intriguing NEX-7. Apart from the attractive drawing style of Zeiss lenses, of particular merit for available light photography is the edge-to-edge performance at maximum aperture.

The above photograph taken at f/2.0 atop Primrose Hill, London on an overcast day, is cropped top and bottom but retains the original horizontal resolution.

This is a crop at 1:1 from the far left. Shooting cityscapes at f/2 is not recommended, this was purely for testing purposes but it reveals the imaging performance is of a very high order.

 

The lens has an unusually close 16cm minimum focus distance, which permits close-ups such as this small candle (it's about 3cm tall). Note the smooth differential focus (bokeh) and circular highlights (there's the slightest green tinge at the edge visible at 1:1).

*UPDATE: No lens is perfect, and this one has a propensity to produce purple fringing (common in fast primes shot at large apertures). It's also quite difficult to remove, even in Lightroom 4.1 RC2 with the new Lens Correction tools. In my estimation troublesome purple fringing was easier to remove in earlier versions of LR4 using a technique I have disclosed in a recent review of the software to be published in a forthcoming edition of the British Journal of Photography magazine.

To buy, please follow the links to Jessops (£849.95), or Adorama ($999.99 USD / £631 ex VAT ). Thank you for buying through this site's links.

Berlebach Report 3042 tripod in for review

Wooden tripods are said to be extremely resistant to vibration, and so should be high on the list of priorities for serious photographers, but how many makes do you know? I searched and found Berlebach, a German tripod maker who are practically unknown in the UK and I suspect also the US, though I noticed Adorama stock them.

They're made from renewable ash, which has been stored for two years prior to processing to eliminate tension (and thereby reduce splitting and fracturing during manufacture). I asked a spokesperson for the company which tripod they recomended for stability and general professional use and they recommended and sent me the 3042 for review. The quality and finish is excellent (without it being unaffordable, though that is relative - it costs $279.95). It has just two sections, making it extremely stable (a pro DSLR with a 300mm f/2.8 is about it's maximum) but not terribly compact. Three section versions are available, however. The 3042 Report also has a centre column with a leveling feature and spirit level. I'll be adding a review in due course, but I can say vibration levels are extremely low, possibly the lowest I've ever encoutered.

For more infomation, please visit www.berlebach.de.

Sales

To buy please follow the links at Adorama and B&H Photo.You can also find them for sale new on eBay UK, here. Thank you for buying through this site's links.

Sigma 120-300mm f/2.8 first impressions

I'm testing the latest version of the full-frame Sigma 120-300mm f/2.8 zoom. To state the obvious, it combines some of the capabilities of the 70-200mm and 300mm f/2.8 lenses in one lens but without any real penalty in size or weight over the latter (if Sigma had managed to produce a 70-300mm f/2.8 it would be considerably larger and more expensive). At $3,199 / £1,999.95 it's around half the price of the 300mm f/2.8 primes from Canon or Nikon and is certainly an intriguing proposition. Strangely, Sigma don't go to great lengths to promote the weatherproofing, their press material says it's sealed but there's no mention of it after that. And, I should point out that the lens mount doesn't have a seal, which is an odd omission at this level.

I've not taken enough pictures yet to formulate any conclusions on image quality but I've some initial impressions on the build. A large heavy lens like this must be equipped with a decent tripod bracket and, thankfully this lens is, by and large. However, it has just the one (1/4-inch) tripod socket in the foot. I would have preferred to see two for secure fixing of a lens plate.

Balancing the Sigma is more difficult than most on the Wimberley WH-200. Although internal, the zooming affects the balance slightly - enough for it to upset the Wimberley. It's not unusable though, by any means. Unexpectedly, the lens comes with a lens cap and an odd choice for a lens with a huge front element. The cap easily dislodges. Although difficult to remove one-handed, I actually prefer the lens covers supplied with the Canon and Nikon lenses (and, it appears, earlier versions of this lens). I've not tried it but the LensCoat Hoodie (Large) looks like it might be a good alternative - the black version is just $13.99.

I have a number of Arca compatible plates but I tend to use the Wimberley P50 with the Wimberley Head Version II (WH-200) head as it's very long and easy to slide back and forth in the clamp when balancing. I also test a lot of different lenses and this fits them all. The P50 is meant for the 600mm lenses but if I add the two screws as nubs it works reasonably well with the Sigma. Wimberley recommend the $52 P20, and I've no doubt that would be the better choice.

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Nikon 1 V1 review

After five decades of the F mount, Nikon has introduced a new mirrorless system based around a new, much smaller 1 system mount and 13.2 x 8.8mm sensor, dubbed CX. The Nikon designed Aptina made CMOS sensor is just over half the surface of area of the micro four thirds format sensors used in the Olympus Pen’s and Panasonic Lumix models.

It was expected that Nikon would follow rivals Sony and Samsung and use an APS-C format sensor. From the outset, however, Nikon was clear that the 1 system is targeting more casual users; those looking for something between their Coolpix range and DSLRs, and something that doesn’t cannibalize either of the existing ranges either.

Of the two models announced so far, which use the same 10.1 megapixel sensor and new Expeed 3 processor, the V1 is the more sophisticated and features a built-in detailed electronic viewfinder, a multi-accessory port for an optional flashgun or GPS unit and a higher resolution (460k dot) rear screen. Unlike the lower J1 model, which uses an electronic shutter only, the V1 has an additional mechanical shutter and you can choose between these for different effects.

The electronic shutter option provides a wider range of speeds, up to 1/16,000th sec, and some versatile high-speed shooting options of up to 60fps at full resolution though AF is lost above 10fps. Despite that, flash synching still only tops 1/250th sec, though the addition of a conventional shutter should reduce the effects of sensor blooming, and ghosting that can occur with an electronic shutter.

Adopting both makes for a larger camera and battery is that coupled with the more powerful than average rechargeable battery means the V1 is larger than the marketing material suggests. Indeed, it’s bigger than the current Olympus PENs and some Sony NEX models with their APS –C sensors. In fairness, that’s not a bad thing, given the battery and built-in viewfinder. More importantly, the lenses are a good deal smaller than the Sony equivalents, and they’re good performers optically. 

The 10mm f/2.8 pancake, with an equivalent field of view to a 28mm has little vignetting, distortion or chromatism though some is corrected in-camera. Autofocus is very fast in good lighting, thanks to the new imaging sensor, which uses a part of its structure for distance and subject acquisition adopting a hybrid AF system of contrast-and phase-detection. This is system is not unique, it has featured on some compacts before but it’s a first in a camera with interchangeable lenses and it wouldn’t be surprise to see it rolled out in future DSLR designs.

Unfortunately, like the rival NEX system, image stabilization is optical rather than body integral thus limiting that benefit to any users with a back-catalogue of Ai-s lenses using the optionally available (and still hard to find) F-mount converter. Fortunately, the standard kit 10-30mm lens adopts VR, though all control is via the camera body and the same goes for focusing too. All of the 1 series Nikkor’s lack manual focus rings, though that’s not say that couldn’t change with as yet unannounced lenses.

Operation is more Coolpix than DSLR. Although there’s a smattering of buttons to the rear of the V1, including an easily dislodged shooting mode dial, most of the camera’s control is via the menu, including the ISO settings and exposure modes. This isn’t quite as bad as it sounds, though. The sensors’ size is so small that there’s so much depth of field it’s almost pointless using the aperture priority mode, even the Program mode adopts wide-apertures most of the time. This isn’t a criticism, as such. As a point and shoot it makes sense to simply resign yourself to the fact you’ve fewer real choices to make.

An auto scene mode is the default choice though this is ideally suited to the new Smart Photo Selector mode. A derivative of Nikon’s Best Shot Selector (BSS) the V1 starts buffering images before the shutter button is fully depressed. Focus is adjusted between captures and the best five shots are saved to the card. Where timing is difficult to judge, for instance, street photography, portraits and the like, this mode certainly makes the V1 stand out. 

As you might expect from a camera with a small sensor the V1 doesn’t excel in low-light. Out of camera Jpeg’s have quite heavy noise reduction applied (and there’s in-camera option to alter this other than to turn it off), though Raw files are noticeably more detailed. Although sensitivity runs up to an extended ISO6400 equivalent, anything above ISO1600 is best left for emergency use.

As a still camera the V1 isn’t quite as convincing as some of its rivals, though in that’s arguable in anything over than low-light, but it’s as a hybrid video camera perhaps where this camera’s abilities really lie. Video quality at full HD is excellent. Traditionally, this is an area where Nikon has been weak but the V1 changes that. It might not offer the same imaging aesthetics as the 5DMk II but if nothing else Nikon can develop video technology in a format and platform that doesn’t compete with its DSLR sales. 

It’s risky strategy, but Nikon aren’t able to compete with Sony, and Canon directly on video, format for format, but with its compact size lenses the 1 system and choice of sensor supplier seems ideally suited. It’s perhaps the reason behind Nikon’s stated four-year gestation, but it’s all the more remarkable that the system has appeared at all.

The Nikkor 1 10mm f/2.8 pancake is a little soft in the extreme corners at maximum aperture, but it's a great combination with the Nikon 1 V1. Nikon say more primes are to be released and they'll feature larger maximum apertures.

Contact


For more information please visit www.nikon-europe.com, or www.nikonusa.com

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Adorama (US)
Nikon l V1 c/w 10-30mm f/3.5-5.6 VR $896.95 (rebates available*)

Amazon (US)
Nikon l V1 c/w 10-30mm f/3.5-5.6 VR $849

B&H Photo
Nikon l V1 c/w 10-30mm f/3.5-5.6 VR $896.95 (rebates available*)

Jessops UK
Nikon l V1 c/w 10-30mm f/3.5-5.6 VR £653.90 (rebates available*)

Warehouse Express (UK)
Nikon l V1 c/w 10-30mm f/3.5-5.6 VR £629.95 (rebates available*)

Amazon UK
Nikon l V1 c/w 10-30mm f/3.5-5.6 VR £629 (rebates avialable*)

* See retailer for details

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Fujifilm IS Pro UV-IR DSLR review

Fuji’s IS Pro is the up-date to maker’s earlier S3 UV-IR camera, and like that particular camera, the IS Pro adopts a modified image sensor that’s not shielded from UV or IR light. Consequently, with various filtration methods, the IS Pro is designed for Ultraviolet (UVA), visible and near Infrared photography.

Although there is a healthy demand for DSLRs with IR capability especially, and there are number of independent vendors (mainly in the US, but the UK also) that offer IR dedicated and full-spectrum conversion of current Nikon and Canon bodies, it’s anticipated the IS Pro will appeal largely to the scientific and forensic communities. With the departure of the S3 UV-IR, Fuji’s IS Pro continues to be the only dedicated full-spectrum interchangeable lens based DSLR that has professional-level support from a camera maker. As well as official product support and 12-month warranty, for government agencies and the like, the OEM status of the IS Pro will be particularly reassuring and attractive. What’s more, I would imagine photographic evidence acquired using the IS Pro is less likely to be questioned than unofficially adapted cameras.

Neither Canon nor Nikon offer UV-IR modified DSLRs, however the former developed an IR modified EOS 20D, the 8.2-megapixel Canon EOS 20Da. This adopted a modified IR bandpass filter solely for Astro-photography in the 656nm bandwidth. Interestingly the EOS 20Da allowed Live View from a firmware modification but it’s now no longer available. Besides it’s not just the exclusivity of Fuji’s purpose designed offering, as another consideration must be the availability of a number of quartz glass UV lenses made in Nikon F mount.

Modern multi-coated lenses are more effective at reducing the transmission of UV than older single-coated lenses, but they still allow a substantial amount through, hence the need for blocking filters where high levels of UV light is present. With the inherent sensitivity of both UV and IR of CCD’s and CMOS-based imagers modern DSLRs also feature a strong IR cut filter in front of the sensor. Without an effective IR blocking glass, infrared contamination can lead to some image softness and a magenta colour cast that’s impossible to completely correct in post-production.

Early Nikon DSLRs were often criticised for this, and especially when used with flashguns which are known as high emitters of infrared light. More recently, Leica’s M8 rangefinder is similarly noted for the adoption of a weak IR blocking glass, leading the maker to recommend additional lens filtration.

Body and Ergonomics

Just as S3 UV-IR camera was converted from the maker’s S3 Pro DSLR, the IS Pro is built from Fuji’s popular S5 Pro body. This in turn is based on the Nikon D200, which after being shipped in component form from that maker’s factory in Thailand, is married to Fuji’s excellent SuperCCD sensor and assembled by them in Japan. The maker is said to have converted five-hundred S3 Pro cameras previously, and with the discontinuation of the D200, we can assume a similar number of S5 Pro bodies have had the same treatment.

Fuji claims the IS Pro’s modified imaging sensor captures wavelengths ranging from 380nm to just below 1000nm, encompassing UV (A) to near Infrared. Information isn’t readily available from makers concerning the spectral transmission of their sensor’s cover glass, but it must be close to that of human vision, roughly 400-700nm. On that basis we can see the IS Pro is particularly suited to IR photography.

Essentially, the IS Pro is a Fuji S5 Pro that has had the IR blocking filter removed from the sensor and replaced with what the maker calls a special glass filter. We’re not told what’s special about it but it’s likely to be made of quartz glass and its inclusion is essential to retain auto-focus accuracy in visible light while providing some protection during routine cleaning and maintenance. Like other converted full spectrum DSLRs, the IS Pro cannot use the built-in AF module to focus manually or automatically on objects illuminated solely by either UV or IR light. However, a key feature is the IS Pro’s Live View option which can be used to assess focus with optional UV and IR bandpass filters in place.

Apart from that, the only other stated difference between the two models is the IS Pro’s firmware has been modified. Again, we are not told what this means other than 'it’s fully activated to engage the cameras UV, Visible, and IR abilities…and no other firmware modifications are necessary’. The IS Pro’s menu, and instruction manual mimic’s that of the S5 Pro. None of the advanced features such as Fine-Tune Exposure, Auto-ISO, Film Simulation modes or D-Range options or support for GPS geo-tagging have been omitted.

Although the maker’s S5 Pro has been reviewed previously in this magazine*, it’s worth re-counting the benefits as well as some of the shortcomings with regard to the IS Pro. Fuji’s proprietary Super CCD was generally regarded as having superior high-ISO performance over the D200 at the time, and it was lauded for its wider dynamic range – a result of the dual-sized SR pixel pairing. As noise levels are inherently higher with both UV and IR photography, effective Noise Reduction is a particularly attractive feature. On the downside, although output is 12.3 megapixels at its maximum, fine detail and resolving power in general was lower due to the intriguing interpolation system. What’s more file sizes, especially as uncompressed Raw (RAF) files using the W2 (400-percent D-Range) setting were quite large by comparison, often in the region of 25MB a file.

The IS Pro, like the D200 adopts a low-dust producing shutter mechanism but it lacks the auto sensor cleaning systems found on the latest DSLRs. And despite only having several-hundred shutter activations images from our sample revealed plenty of dust spots. Unlike the Nikon D200 that requires the AC adaptor to be attached for sensor cleaning, the IS Pro has a more user-friendly cleaning procedure providing the battery is full charged. An electronic beep and flashing AF illuminator warn of lessening power, which is a nice touch, but for cleaning of stubborn particles and prolonged use of the Live View feature you’ll need the security of the AC-adaptor.

Viewfinder

A Nikon eyepiece adaptor (DK-21M) with a 1.2x magnification is available that improves the fit to the eye but darkens the corners of the frame slightly. It’s a great help for manual focusing, though the viewfinder of IS Pro isn’t likely to be used often. Although it’s just possible to view a brightly lit subject through one of the dark-red IR bandpass filters, it’s almost impossible to focus using the optical viewfinder with any accuracy. A hinged gelatine filter like the type used for film would seem like a good workaround; focusing in the visible spectrum, locking the focus, then flipping the filter back into the light path while compensating for the shift in focus with IR.

Fuji suggest experimenting with the older manual focus Nikkor lenses for their older coatings. We must assume they mean older lenses with single coatings. The majority of AI and AI-S lenses adopt multi-layer Nikon Integrated Coatings (NIC), though it’s likely the newer AF lenses using Nikon’s Super Integrated Coatings (SIC) are even more efficient at blocking UV.

That said, older manual focus AiS lenses feature the now largely missing IR offset for more precise focusing. Sadly, these have been mostly discontinued and are becoming more difficult to find new. Judging the shift in focus required for UV isn’t as simple, but that’s where Live View scores so highly. Although pricey, a purpose-designed UV lens is recommended. Made from quartz glass, UV lenses boast high UV transmission rates usually in excess of 70-percent and have little or no focus shift. Fortunately, makers such Coastal Optics in the USA and a Nikon industrial subsidiary, Tochigi-Nikon, make quartz lenses in Nikon F mount which are well suited to the IS Pro.

My IS Pro sample was supplied with the rather luxurious Carl Zeiss Makro-Planar 50mm f/2, but not for my benefit I suspect, but rather for its unprecedented maximum aperture. It’s worth noting the Zeiss lens isn’t a true macro lens as it only goes to 1:2 but Nikon’s PN-11 extension tube will easily take the reproduction ratio to life-size. The 50mm Zeiss is the lens of choice for several of the bundles I’ve seen advertised, but I also managed track down Tochigi-Nikon’s successor to the legendary manual focus Nikon 105mm f/4.5 UV-Nikkor.

Live View

Although often overlooked now the S5 Pro was the first DSLR to offer an effective Live View option in full colour, as well as mono. This wasn’t a feature of the 10-megapixel D200 despite much of the S5 Pro’s firmware source code being written by Nikon. However, this ability to focus accurately using the camera’s imager is a crucial advantage over earlier UV/IR compatible offerings.

Sadly, selecting Live View is at least a two-button operation. You have to press and hold what was the Face-Zoom in button on the S5 Pro for two-seconds, choose between the B&W or Colour options (each time, as it’s not memorised) then press the Menu/OK button to confirm. Unfortunately, the IS Pro like the S5 can only provide a Live View image for 30 seconds, to prevent overheating of the sensor. And, somewhat annoyingly the on-screen second-by-second count down only serves to heighten anxiety, in my view. An option to switch that off would be handy. What’s more, the shutter can’t be released during Live View, making the whole procedure far from slick. Naturally battery power suffers considerably, making the optional power adaptor a must for prolonged use.

On the plus side, Fuji’s SuperCCD, like other CCD’s, is highly sensitive to IR and when using the IS Pro’s Live View feature in daylight images can still be focused and used hand-held with the opaque, nearly black-looking Peca 900 UV+IR (18a) and B+W 093 IR bandpass filters. You have to adjust the screen’s brightness to the maximum, a simple operation using the camera’s cursor key, and you can also magnify the image for improved focus accuracy with the same control-pad. The option to display either in colour or black and white is sensible, as I found focusing slightly easier as a result of the increased contrast when set to the latter. While the 2.5-inch 230k dot screen is small compared to the latest DSLR offerings the Live View is what elevates the IS Pro over older converted rivals.

Adopting Live View in low light, using the relatively fast Carl Zeiss Makro-Planar 50mm f/2 (extremely fast for a macro lens) with the dark red B+W 092 (Wratten 87b) IR filter was much more difficult due, in part, to some poor gain control of the LCD. With the slower maximum aperture of f/4.5, unsurprisingly, the Nikon Rayfact 105mm UV lens with any of the opaque filters attached is practically impossible to focus accurately with. If you intend to light by flash, for example, this need not be a show-stopper but you will need a workaround. Using a continuous light source could be an alternative but in the case of UV, precautions would have to be taken to limit the harmful effects of inadvertent exposure.

Metering and Exposure

The Carl Zeiss ZF lenses are built to the AI-S specification that’s to say they lack electronic contacts and internal CPU unlike Nikon’s AiP or AF lens range. Even so the IS Pro will colour matrix meter with manual focus lenses providing the focal length and maximum aperture are entered beforehand. Set-up using the menu is a bit clunky but selecting the relevant lens can made a shortcut using the front FN button. Despite that, the IS Pro tends to overexpose backlit scenes especially when using the B+W 092 (87b) and will easily underexpose at other times. Although difficult to find, separate RGB histograms are provided in playback only, but are genuinely helpful when determining exposure.

With the combination of low UV light levels and the Peca 900 (18a) filter attached from the sample of photos shown the exposure was some 6 stops longer than the unfiltered image. Even accounting for the IS Pro’s increased infrared sensitivity, with the opaque B+ W 093 filter attached the exposure was still some 4 stops longer than the unfiltered sample photo. So although there may be a opportunity to use the IS Pro handheld occasionally, for other times where maximum depth of field (and focus accuracy) is a must a tripod will have to be used.

Software and Image Quality





I’m lukewarm with regard to the supplied software – Hyper Utility HS-V2 version 3.1j for Windows and Mac. HS-V2 has been the subject for discussion in an earlier issue of the magazine, so I won’t elaborate other than to say it’s pretty clunky in use and the layout would benefit from an overhaul. Neither was the supplied software compatible with the latest Mac OS, version 10.5. Be that as it may it offers tethered operation of the IS Pro (not with Live View), which is an obvious attraction in a studio or lab, and produces the best quality files with the lowest possible shadow noise from Raw. As it emulates the in-camera processing it can also be used to reproduce the film simulation modes from Raw, should you decide to use the IS Pro for visible light photography. However, I found the B+W UV/IR cut filter (486) doesn’t block enough IR light, leading to a slight magenta cast. Besides, until recently with the release of ACR 4.6, it was the only solution for developing the IS Pro’s Raw files.

Adjusting the white-balance can produce very strong and unexpected colour shifts that can be quite desirable aesthetically but if shooting raw files this can be wholly ignored. With the increase in exposure times, so we are likely to see an increase in noise. Noise levels are low even at ISO 400, and still well controlled up to ISO1600. At ISO3200, luminance noise is quite high and detail suffers but this is unlikely to be an issue for the majority of targeted users. Similarly, with the only real downside being an increase in file size and processing demands, the IS Pro’s impressive expanded dynamic range option is an advantage when it’s needed. Output from the IS Pro looks both flat and a little soft as a result and neither in-camera Jpeg’s or Jpeg’s from Raw files sharpen that well. This may well be due to the inclusion of strong AA filter as both the Carl Zeiss and Nikon 105mm UV lenses deliver impressive sharpness on an APS-C crop camera, such as the D200. Still there’s no questioning the enormous gain in exposure latitude with Raw files from the Fuji.

Conclusions

While the IS Pro may no longer be at the cutting edge of DSLR design the Live View feature has enormous advantages, especially when used with a strong and continuous light source. Even if Fuji could adopt the newer D300 or D700 body, fitting opaque filters on the lens thereby obscuring the viewfinder and image sensor is a shortcoming for handheld use. However there are several workarounds to this and when used on a tripod the IS Pro works well.

With an effective Live View system, pro-level build, low noise and impressive dynamic range the IS Pro is a huge step over its predecessor, the S3 UV-IR. System compatibility aside, landscape and fine art photographers would find the IS Pro attractive, though there could be an argument for a dedicated IR camera which would retain normal viewfinder focus operation. For the scientific and forensic communities, however, the OEM status and official support makes the IS Pro a compelling choice over an independently modified DSLR.



*This review was originally written in December 2008, however the camera has not been updated in that time and is still available, albeit in limited quantities.

Contact


For more information on the IS Pro visit Fuji at www.fuji.co.uk, or www.fujifilmusa.com

For information regarding the outstanding Nikon UV-105mm f/4.5 visit www.invisiblevision.com

Carl Zeiss lenses are distributed in the UK by Robert White, www.robertwhite.co.uk

B+W Filters are distributed in the UK by DayMen International, www.daymen.co.uk

Peca Filters are distributed in the UK by Bob Rigby, www.bobrigby.com

Sales


Adorama currently have a special promotion on the Fuji IS Pro here (was $799.95, now $599.95). Buy Carl Zeiss lenses from Adorama.