Nikon announces new flagship D4

After a series of unfortunate leaks, the successor to the Nikon D3 was launched yesterday at a press conference in London. With a full frame 16.2-megapixel CMOS sensor and extended video capabilities, the new D4 is the new flagship model and update to the D3s - with the new naming convention it seems unlikely now that we'll see a D4x (but you never know, a D4s could be introduced in 12-months time with the D4x to follow). However, just in time for the Olympic Games in London, the new D4 has several important features (remote control over WLAN with new WT-5, AF with the 600mm f/4 and 2x converter, uncompressed HDMI output for external recording) and the adoption of a new card format, XQD, though after this announcement about CFast, I'm a bit surprised. I hope either to expand on them here or at a later day in a review. A spokesperson for Nikon UK confirmed to the DJP that the new camera will be available in March, not mid-Feb as advised at the launch, at £4,799.99.

UPDATE 8th Jan: UK retailer Jessops is taking pre-orders for the new D4 at £4,799.95 (inc VAT), please follow the link here.

 

Press release:

The Nikon D4 – Built to push limits
 
RRP: £4,799.99 / Eur 5,658
Sales start date: 16th February 2012 (tbc)
 
London, UK, 6th January 2012: Nikon today announces the launch of the D4, its new flagship D-SLR for photographers who are looking for the ultimate digital SLR camera to revolutionize photography.
 
Designed to push the limits and realize every shooting opportunity, this new professional FX-format camera brings new levels of image quality, speed and precision to both still photography and video.
 
Equipped with a 16.2-megapixel FX-format sensor, phenomenally high ISO and Nikon’s powerful EXPEED3 image processing engine, the new model offers uncompromised performance and unrivaled versatility in extreme lighting and environmental conditions.
 
“The introduction of the Nikon D4 sets a new benchmark for photography,” says Kentaro Kusakari, Product Planning Manager, Nikon UK. “We’re proud to be launching a new flagship model that exceeds the capabilities of its world renowned predecessor, the Nikon D3. This new camera has been designed for class leading professionals looking to push the limits of photography and improve their workflow. We’re confident that the Nikon D4 will help take them to the next level.”

 
Uncompromised Image quality—Exceptional speed
Engineered to deliver remarkable image integrity in the most diverse lighting conditions, the D4 offers blisteringly fast fps performance and sets a new benchmark in low-noise performance. The 16.2 megapixel FX-format (full-frame) CMOS sensor with fast channel readout delivers up to 11 fps—faster than any other Nikon DSLR camera.
 
Images of remarkable quality with low noise and wide dynamic range can be realized even at high ISO sensitivities thanks to the optimized noise reduction design and 14-bit A/D signal processing built into the sensor. The phenomenal ISO range sets a new benchmark of ISO12800 and extends the range one EV further to make ISO 100 a standard. For more challenging conditions, equivalent ISO 50 and ISO 204,800 sensitivities make the D4 the camera of choice for photographers who typically face extreme lighting challenges.
 
Super-charged EXPEED3 image processing engine
Thanks to Nikon’s next-generation EXPEED 3 image-processing engine, the D4 makes light work of multiple data-rich tasks without sacrificing the speed and quality that pros are accustomed to. High-speed 16-bit image processing follows the 14-bit A/D conversion to deliver submission-ready JPEGs straight out of the camera. Performance is never compromised, even when undertaking the most data-intensive tasks. Images boast faithful, well-saturated colour and natural depth. Even when shooting in dim lighting at high ISO sensitivities, the camera’s intelligent, performance-proven noise reduction lowers noise without degrading image sharpness.
 
Broadcast quality video
For professionals whose workflow demands video, the D4 offers all the flexibility required for a wide variety of movie applications. It’s large format movie shooting at its best, with a comprehensive variety of frame rates.
 
Frame rates: Full HD (1080p) movies can be recorded in 30p, 25p and 24p, with 60p, 50p, 30p and 25p options at 720p. Movie clips can be close to 30 minutes long (approx. 29.59 min).
 
Multi-area mode: Full HD (1080p) recording is possible in both FX and DX based formats as well as in native Full HD (1920x1080) crop.
 
High-fidelity audio control: responding to feedback from the industry, the D4 introduces new possibilities for D-SLR audio recording that enable your movies to sound as good as they look. Aside from the external stereo microphone input, an audio out for external headphones lets you fine tune audio in isolation.
 
Uncompressed HDMI output: for those who need the purest video output for professional quality editing, the D4 offers the possibility to output the uncompressed live view to external recorders and monitors. The first time this has been possible in an SLR camera, data is output at 1080i (Full HD) at the designated image size and frame rate. Data output can be scaled down if necessary and is clean of the information overlay that can be simultaneously displayed on the camera’s TFT monitor. 
 
Convenient custom controls: live view operation is enhanced thanks to convenient custom controls. Instead of rotating the command dial, power aperture enables smoother aperture control via assigned buttons on the front of the camera. Index marking enables important frames to be tagged in the timeline during movie recording, which makes for easy location during editing.
 
New levels of speed and accuracy
When it comes to nailing decisive moments, the D4’s enhanced auto operation gives photographers a clear advantage.
 
Advanced scene recognition with 91K-pixel RGB sensor: Nikon’s revolutionary Advanced Scene Recognition System now incorporates the newly designed 91,000-pixel RGB sensor that meticulously analyses each scene for outstanding accuracy.
 
3D-subject tracking is particularly improved when shooting and tracking smaller subjects. Human faces are detected with startling exactness even when working in real time through the optical viewfinder. This level of detailed scene analysis is also utilised to support more accurate autofocus and auto exposure, even under the most challenging lighting conditions.
 
Advanced Multi-CAM3500FX AF Sensor Module: Nikon’s highly acclaimed Multi-CAM 3500FX AF system  —with individually selectable or configurable 9-, 21- and 51-point coverage settings — has been re-engineered for faster subject detection.
 
The autofocus sensor module and algorithms significantly improve low light acquisition sensitivity capabilities down to -2 EV (ISO 100, 20°C/68°F). All 51 focus type sensors are fully responsive with any AF NIKKOR lens f/5.6 and—for the first time—this superb performance does not end at f/5.6 apertures. 
 
Powerful AF sensors compatible up to f/8: the D4 maintains the power of the eleven central AF sensors, including one cross-type even if the combined open aperture value is f/8. A big plus for shooting sports and wildlife, this delivers a new level of detection potential when combining, for example, a 600mm f/4 AF-NIKKOR lens with a NIKKOR 2.0x teleconverter. If the combined aperture value is between f/5.6 and f/8, you even have the power of fifteen central AF sensors available, of which nine are cross type sensors.
 
Faster total workflow speed
The D4’s speed runs across its entire workflow.
 
Newly developed Kevlar/carbon fiber-composite shutter unit: the new, highly durable shutter unit offers a standard life cycle rating of 400,000 releases, with a maximum shutter speed of 1/8000 to 30s and flash synchronization at up to 1/250 sec.  An intelligent self-diagnostic shutter monitor and a drive unit reduce the demand on power when the shutter is raised for extended periods during movie shooting.   
 
Fast response: start-up is approx. 0.12 seconds[1], release time lag is minimised to approx. 0.042 seconds[2] (equivalent to that of the D3S), with approx. up to 11 fps capability in FX-format and all crop modes.
 
Storage media: the D4 offers two card slots. One for high-speed CF (UDMA 7) cards and one for high-speed, high-capacity XQD card slot.
 
Connectivity: a powerful data communication and control system makes both wired and wireless LAN file transfer faster and easier than ever. Wireless LAN support is available via the compact, newly designed WT-5 Wireless Transmitter, which features HTTP and FTP connection modes and also allows for the simultaneous release of several cameras equipped with WT-5. HTTP mode has also been designed to work with iPhone screen resolutions. For the first time in a Nikon camera, a wired LAN connection is integrated into the camera body.
 
Always up to the job
Every millisecond can count, and the D4’s improved operability helps photographers respond quickly to changing situations.
 
Intuitive horizontal and vertical control: each orientation has identically laid-out controls, conveniently placed so that the camera may quickly become an extension of your hand whether you shoot in landscape or portrait. 
 
Simplified AF and AF-area mode selection: now possible without taking your eye away from the viewfinder.

 
Precision 8-cm (3.2-in.), approx. 921k-dot, wide-viewing-angle LCD monitor with automatic brightness control. The monitor delivers bright, crisp image playback with a much wider colour reproduction capacity. LCD brightness is automatically adjusted according to the viewing environment and images can be magnified up to 46x during playback, which can be a big help for spot focus confirmation.
 
Glass prism optical viewfinder: offers approximately 100% frame coverage and 0.7x magnification (50mm f/1.4 lens at infinity, -1.0m-1). The high eyepoint design of Nikon’s viewfinders is renowned for minimizing visual fatigue when using the camera for extended periods of time.
 
Dual-axis electronic virtual horizon: offers accurate confirmation of level shooting by letting you check the LCD monitor, or the viewfinder, for both the camera’s position in relation to the horizontal plane and its pitch (forward or rear rotation).
 
Direct access to Picture Controls: via a dedicated button, rather than the menu. Picture Controls let you customize the look of your stills and videos by fine-tuning parameters such as sharpness, saturation, and hue.
 
Complete control over workflow
The D4 is built for speed, but not for speed alone. Readiness and versatility go hand in hand with control options that can deliver a real advantage when time is of the essence.
 
Time-lapse movies: the D4 extends the popular time-lapse photography function by saving images as a movie file in the camera. With playback rates from 24 to 36,000 times faster than normal.
 
HDR (High Dynamic Range): shoots one overexposed and one underexposed frame in a single shutter release. The range can be widened by up to 3 EV for different looks, full of saturation and tonal gradation. The smoothness of the edge where the two exposures meet can be adjusted for a more natural look.
 
Refined colour temperature control: enables minute control over white balance. The monitor hue of live view and the resulting image’s white balance can be adjusted so that the two are aligned. Colour temperature can be manually set in 10-Kelvin increments, or in mired units.
 
Four image area options: you can choose from a variety of image crop modes, all visually masked in the viewfinder. 5:4 (30.0 x 24.0 mm), 1.2x (30.0 x 19.9 mm), and DX-format (23.4 x 15.6 mm).
 
In-camera editing: captured images and movies can be altered and edited in camera and on the fly if required. Retouch menus include an array of useful features such as NEF (RAW) processing, resize, distortion and perspective control just to name some of them. On top of that it has the ability to designate the start and end point of movie clips all at once, in order to save them more efficiently.
 
Accessories
Compact WT-5 Wireless Transmitter (optional): attaches to the camera’s designated interface connector and is powered by the camera body. It features HTTP and FTP connection modes and allows for the simultaneous release of several cameras equipped with WT-5.
 
GP-1 GPS unit (optional): records location information such as latitude, longitude, altitude and time (UTC) as ‘geotags’ in the image data (Exif) and allows simultaneous operation together with the WT-5.
 
Compact Stereo Microphone ME-1 (optional): records clear sound while significantly reducing mechanical noise.
 
Nikon SB-910 (optional)—Unparalleled lighting performance: offers versatile i-TTL for on-camera or wireless flash control, refined operability and a powerful guide number of 34/112 (ISO 100, m/ft, STD, FX format, zoom 35mm). Menus and controls have been improved for more operational ease. Hard-type incandescent and fluorescent colour filters are included, which can adjust your D4’s white balance instantly.
 
Capture NX 2 (optional)—Fast, powerful and creative image processing: to accommodate the imaging power of the D4, Capture NX 2 is faster than before and boasts full 64-bit compatibility. 
 
Camera Control Pro 2 (optional)—Versatile remote camera controls: aside from controlling exposure mode, shutter speed, and aperture, this software now offers numerous improvements to make the D4’s live view operation exceptionally smooth. New creative controls include remote start and stop for movie shooting and the option to switch quickly between stills and movies in live view.
 
ViewNX 2 (supplied)—Browse, edit, share and more: bundled, all-in-one software implements an easy-to-use interface and an array of editing functions, including basic editing of RAW files and D-Movies. Seamlessly integrates with my Picturetown, Nikon’s photo sharing and storage service
 

Additional Images

Storage media: the D4 offers two card slots. One for high-speed CF (UDMA 7) cards and one for high-speed, high-capacity XQD card slot.
 

As this particular perspective shows, the D4's curvaceous body is a departure for Nikon. Their top-of-the-range model is looking more like rival offerings.

Contact

For more information, please visit www.nikon.co.uk

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Lexar announce 1000x speed rated CF cards

Lexar has announced the world's first 1000x speed-rated CF cards, capable of up to 150MB per second read speed (i.e. via suitably equipped-UDMA 7 card reader). Write speeds will be slower, the maker claims 20MB/s is possible for video-capture, so expect to see this standard on, as yet unannounced, video-enabled DSLRs. The new CF cards will be available in February, with MSRPs of $169.99 / £149.99 (16GB), $299.99 / £269.99 (32GB), $529.99 / £469.99 (64GB), and $899.99 / £799.99 (128GB).

US readers, please follow the link to Adorama, here. Thank you for buying though this site's links.

Press release:

Lexar Introduces Industry’s First 1000x Memory Card
                                                                                                                      
Blazing-Fast 1000x Memory Card Offers the Ultimate Performance for Professionals Shooting High-Resolution Images and Full-HD and 3D Video

 

Fremont, CA, 5 January, 2012 – Lexar, a leading global brand of flash memory products, today announced the industry’s first 1000x memory card, the Lexar® Professional 1000x CompactFlash® (CF) card. The new card provides professional photographers and advanced photo and video enthusiasts with blazing-fast 150MB per second minimum guaranteed sustained read speed.* The Lexar Professional 1000x CF card will be available in 16GB, 32GB, 64GB, and 128GB capacities, and supports the VPG-20 specification, meaning the card has been tested and guaranteed for professional video capture streams at up to 20MB per second, ensuring professional-quality video at high frame rates with no dropped frames. In addition, the Lexar Professional 1000x CF memory card helps accelerate the digital photography workflow, helping clear the camera’s buffer for uninterrupted shooting and quickly transferring images and video from the memory card to the computer, when paired with a UDMA 7-enabled reader such as the Lexar Professional USB 3.0 Dual Slot Reader. For additional information about the Lexar Professional 1000x CF card, visit www.lexar.com.
 
"Lexar Professional CF cards are the only media I trust to capture my video images. With a significant performance upgrade and VPG-20 support, I can spend more time behind the camera and less time waiting for footage to transfer," said Lexar Elite Videographer Alex Buono, who is acclaimed for his video production work on Saturday Night Live. “Lexar has always understood how professionals shoot, manage, and edit their captured content, offering the tools and technologies to make the job faster and more efficient. The Professional 1000x CF card will help ensure that a memory card is never the bottleneck in the creative process.”
 
The Lexar Professional 1000x CF memory card is compatible with all UDMA CF and CF devices. The card includes the latest version of award-winning Image Rescue® software to help recover lost or deleted photo and video files, even if they’ve been erased or the card has been corrupted.**
 
“Professional photographers who shoot both photos and video look to Lexar for storage solutions that will enhance their digital workflow and remove the obstacles that stand in the way of the creative process,” said Manisha Sharma, director of product marketing for cards, Lexar. “The Lexar Professional 1000x CF card offers some of the best performance available, not only for use in-camera, but also when moving images and video from the card to a computer for editing and processing. Our goal is to allow shooters to focus on capturing great shots, including high-resolution images and HD or 3D video, instead of using up precious time processing in the studio.”
 
The Lexar Professional 1000x CF card provides consumers with the quality and reliability they have come to expect from Lexar. All product designs are tested in the Lexar Quality Labs to ensure performance, quality, compatibility, and reliability with more than 800 intended digital devices.
 
All Lexar Professional cards include a limited lifetime warranty and free, dedicated professional technical support. The new Lexar Professional 1000x CF card will be available in February, with MSRPs of $169.99 / £149.99 (16GB), $299.99 / £269.99 (32GB), $529.99 / £469.99 (64GB), and $899.99 / £799.99 (128GB).

Contact

Fore more information, please visit www.lexar.com

DataColor announce availability of Spyder4 range

Color Confidence, the UK distributor for DataColor has announced the immediate availability of the new Spyder4 range of colorimeters. All 3 devices in the range benefit from DataColor’s patented 7-colour sensor which improves on the traditional 3-channel RGB sensors found on other devices, providing a more accurate, reliable calibration, say the company. The Spyder4Express is priced at £99.99, Spyder4Pro is £129.99, and Spyder4Elite is £179.99. All prices are inclusive of VAT.

 

Press release:

Color Confidence announce launch and availability of new DataColor Spyder4 range
 
    •    New Spyder4 Express, Spyder4Pro and Spyder4 Elite available immediately from Color Confidence resellers and www.colorconfidence.com
    •    Spyder4 replacements for the Spyder3Print and Spyder3Studio due February
 
Birmingham, UK, 4th January 2012 – Color Confidence, Europe’s leading value added distributor into the digital imaging markets, have today announced the launch and immediate availability of the Spyder4 range from DataColor. The new range of monitor calibration solutions consists of the Spyder4Express (basic functionality), Spyder4Pro (more control) and Spyder4Elite (professional capability) and all devices can colour calibrate monitors, laptops, projectors, TVs, iPads and even iPhones. The range is available immediately from photographic and consumer electronics resellers across the country, as well as online www.colorconfidence.com
 
Spyder4 is designed to fit in with the way photographers work, combining an easy-to-use interface with advanced levels of brightness and colour control. All 3 devices in the range benefit from DataColor’s patented 7-colour sensor which improves on the traditional 3-channel RGB sensors found on other devices, providing a more accurate, reliable calibration.
 
Since no two devices display the exact same colour, precise calibration is imperative in order to ensure consistent, true colour representation. In addition, even calibrated monitors, TVs and tablets will gradually decrease in accuracy, requiring colour calibration every one to two months in order to display sharp, accurate colours, shadows and highlights.
 
“DataColor have a reputation for delivering simple to use but effective monitor calibration solutions, and unquestionably the new Spyder4 range delivers on this. Additionally, an exciting development for photographers and designers is having the ability to calibrate all forms of monitor including the iPad and iPhone, providing users with the ability to trust their images on the go.” Commented Geoffrey Clements, Managing Director, Color Confidence. “From our perspective we are pleased to see that the key manufacturers in colour management continue to push each other and drive the technology forward, bringing improved functionality and usability to photographers, designers and colour professional alike.”
 
Spyder4 at a glance
Spyder4Express is a cost-effective colorimeter that quickly calibrates a single display computer or laptop right out of the box. iPad and iPhone calibration is also available with Datacolor’s free SpyderGallery app.
 
Spyder4Pro is ideal for those that want more control over colour management, offering ambient light measurement and the ability to calibrate multiple displays.
 
Spyder4Elite offers the highest level of functionality. In addition to the Spyder4Pro’s feature set, it can also be used to calibrate projectors. Developed for professional photographers, videographers and others who must match colours precisely, the Spyder4Elite provides the tools to manage multiple displays and calibrate them using a full set of gamma and non-gamma tone response curves to create custom workflow settings. The user can even define a custom calibration. The Spyder4 Elite includes the L-Star workflow and supports the video standards Cineon, NTSC, PAL and HDTV.
 
Pricing and Availability
Spyder4 products are available at photographic and consumer electronics retailers nationwide or online at www.colorconfidence.com. The Spyder4Express is priced at £99.99, Spyder4Pro is £129.99, and Spyder4Elite is £179.99. All prices are inclusive of VAT.

Manufacturer rebate available on Tokina 16-28mm f/2.8

The Tokina 16-28mm lens has a manufacturer $50 mail-in rebate currently, and Adorama currently has both mounts in stock and is offering free shipping.

Please follow the link to buy Canon/ Nikon.

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Epson adds in-house proofing with Design Editions

Epson opens up market for in-house proofing

Three new Epson Design Editions deliver proofing one-stop-shop
 
4th January 2012 – Epson teams up with a leading RIP provider EFI, to offer a complete package for all in-house designers, agencies and advertising departments to support their proofing needs.  With the new Epson Design Editions, covering three key products within its range – the SP-WT7900, the SP-4900 and the SP-3880 – Epson delivers a complete one-stop-shop for all in-house proofing needs.

For busy departments or agencies who don’t have time to research, benchmark and purchase each element individually, the Design Editions represent a quick and cost-effective investment.  Simply select the Epson printer to suit and, via one of its channel partners, Epson provides the entire package of hardware, and RIP software from EFI – its popular Express Edition – along with a set of Epson media profiles.  Users can also add the SpectroProofer if they have the need for automatic and highly accurate colour calibration and measurement.

The printers:
    •    Epson Stylus Pro WT7900 Design Edition – the industry’s first white ink packaging proofing printer, offering an innovative and unique ink formulation which is capable of printing on various substrates including metallic at sizes of up to 24 inches (53.35cm).
    •    Epson Stylus Pro 4900 Design Edition – for agencies and in-house departments who want to tap into the industry’s highest Pantone match rate of 98 per cent, providing high-quality proofs at up to 17 inches (43.2cm).
    •    Epson Stylus Pro 3880 Design Edition – for smaller design studios or freelancers who want a compact, affordable printer for their proofing needs at up to 17 inches (43.2cm).

Martin Johns, Market Development Manager, Pro Graphics, Epson UK, says: “We know how important it is for busy agencies, designers or departments to save time and money when it comes to proofing – this is why we put together the Design Editions, aiming to save time not only on researching and selecting each element within the package, but also to help them speed their proofing productivity.  And they will also be delighted with the cost savings, as the Design Editions are significantly more affordable than purchasing each aspect individually.”

The SP- WT7900 and SP-4900 Design Editions are available from December and The SP-3880 Design Edition is available from January 2012.  The Design Editions will be available across EMEA

For more information, please visit www.epson.co.uk

Olympus UK extends XZ-1 cashback offer

Press Release:

Olympus XZ-1 £40 cashback offer extended!

Olympus have extended the £40 cashback on the flagship XZ-1 until the end of February 2012.

If one of your new year’s resolutions for 2012 is to take up a new hobby or learn something new then why not make it photography? With Olympus extending the cashback offer until the end of February there really is no excuse not to, and with £40 off the price you won’t be breaking your resolution to save money either.

The multi-award-winning XZ-1 camera combines the image quality and adjustability of system cameras and the portability of digital compact cameras. For ambitious amateurs and discriminating professionals alike, the XZ-1 offers superior, best-in-class image quality. With the light-grabbing, digital iZUIKO lens, shooting in low-light situations is a breeze. The manual lens ring allows for quick adjustment of key camera settings while you shoot, and a sliding depth-of-field adjuster makes it easy to create beautiful bokeh effects. All of this in a sleek and stylish package (now available in three colours, black, white & silver) that’s as rugged as it is mobile.

The cashback offer is running in the UK and until 29th February 2012 and is valid on purchases of the XZ-1 from authorised UK and Ireland stockists.

More information on the offer and how to claim are available at www.olympus.sales-promotions.com

For more details on the Olympus XZ-1, please go here

Sales

To buy from Jessops UK (at £339.95 excluding £40 cashback), please follow the link here.

To buy from Amazon UK (£290, excluding £40 cashback), please follow the link here.

To buy from WEX (£309, excluding £40 cashback), please follow the link here.

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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Call for entries in Open to Interpretation: Fading Light

Open to Interpretation are calling for entries in their international juried book competition. Submissions are open now with early submissions due January 19, 2012. The deadline for entries is March 15, 2012. Please see below for submission guidelines, fees, and award details.

Press release:

"Fading Light" Juried Photo Competition

Open to Interpretation is now calling on photographers to submit images for consideration in a juried book competition. 
 
Project Details
Open to Interpretation is a collaborative book project bringing together photographers, poets and writers. Each book begins with a themed call for photos. The chosen photos become the literary inspiration for the writers' submissions. A book is created that matches each winning photo with two stories or poems that offer different interpretations of the image. The unique collaboration adds new dimensions to both the photos and the written word.

 
Book Title: Open to interpretation
Theme: Fading Light
Juror: George Slade, Principal at re: photographica
Submission Fee: $40 for 5 images, $10 each additional
Deadline for submission: March 15, 2012
Early Entry: $10 discount if submitted by January 19, 2012
Results Announced: March 30, 2012
 
Awards
$300 Judge's Selection Award
 
Judge
George Slade has provided fine photographic artists and their audiences with insightful interpretation and curatorial expertise in exhibitions, classes, writings, lectures, and face-to-face exchanges for over 25 years. Formerly the artistic director of Minnesota Center for Photography, the director of the McKnight Artist Fellowships for Photographers Program, and recently the curator at the Photographic Resource Center in Boston, George is a veteran presence at portfolio review events like Fotofest, Photolucida, Critical Mass, PhotoNOLA, and the Society for Photographic Education's regional and national conferences. In the last three years he juried regional and national exhibitions for the Coalition of Photographic Arts (Milwaukee), New Directions 2009 at the Wallspace Gallery (Seattle), the 2011 Clarence John Laughlin Award at the New Orleans Photographic Alliance, the New England Photography Biennial at the Danforth Museum of Art (Framingham, MA), and IRevelar at the Naomi Silva Gallery in Atlanta. George received a 2007 award from the Creative Capital/Andy Warhol Foundation Arts Writers Grant Program; his writings and reviews appear extensively in print and online; some may be found at his web site, re:photographica. He lives in Minneapolis with his partner Stephanie and their children.
 
Entries are submitted online at www.open2interpretation.com

Adorama last minute specials on Canon lenses

Canon EF-S 10mm - 22mm f/3.5-4.5 USM Autofocus Zoom Lens for Digital SLR Cameras - U.S.A. Warranty.
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Canon EF 14mm f/2.8L II USM Wide Angle Lens - U.S.A. Warranty
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add to cart for price, expires 12/30/2011
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Canon TS-E 24mm f/3.5L II Tilt-Shift Lens - U.S.A. Warranty
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Canon EF-S 60mm f/2.8 Compact Macro AutoFocus Lens - USA
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Nissin to add MF18 ringflash to range

UPDATE 21 Feb 2012: A spokesperson of Nissin has confirmed to the DJP that stock will be arriving shortly in the UK, however Amazon UK are listing it already, at just £284.00

Kenro, the official distributor for Nissin flashguns in the UK, has announced the MF18 ringflash, a compact model with a GN of 16 and adjustment of up to 7-stops in manual mode, 11-stops in Fine Macro mode. The MF has a RRP of of £359.99 and will be available in January 2012.

Press release:

Nissin launch ring flash - MF18

Kenro has announced the UK launch of a new Nissin ring flash, the MF18 Macro Flash.

This new addition to Nissin's acclaimed range of flash equipment allows photographers to achieve an even spread of light from their macro work which means an end to overexposed images and removes the problem of ugly shadows. The MF18 Macro Flash is particularly suited to portraiture, either in a studio or on location.

The flash boasts an impressive high power guide number of 16m (100 ISO) and the power ratio can be adjusted down to 1/1024 in the Fine Macro mode. The MF18 also provides a Wireless TTL function enabling the addition of slave flashes. Firmware updates are available directly from the Nissin website via the unit's USB connection.

The flash head extends in diameter and will fit lenses from 49 to 82mm with mount adaptors. 52, 58, 62, 67, 72 and 77mm adapters are included with 49, 55 and 82mm being available as optional extras. The flash is powered by four AA batteries and is also compatible with the Nissin PS300, the Canon CP-E4, the Nikon SD-8A and the Nikon SD-9 power packs.

Kenro managing director Paul Kench made this comment on the release: "Ring flash can be an expensive luxury, but now, thanks to the MF18 Macro Flash, it is within reach of every serious photographer. I'm delighted Nissin have introduced this unit, it's easy to use and produces very impressive results."

The MF18 is available with either a Canon or Nikon fit and has an RRP of £359.99.

To view Kenro's full range, or for details of your nearest stockist go to www.kenro.co.uk

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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Call for entries in Veolia Environnement Wildlife Photographer of the Year competition

The Natural History Museum is calling for entries in the Veolia Environnement Wildlife Photographer of the Year competition. The closing date for entries is Thursday 23 February (23.59 GMT).

To enter the competition online, please follow the link at www.nhm.ac.uk Please note, there is a £20 entry fee.

Leica S2 firmware update supports ELMARIT-S 30 mm f/2.8 ASPH

Leica has announced a new firmware update (FW 1.0.2.0 ) for the Leica S2 medium format camera, which provides optimised performance with the recently announced LEICA ELMARIT-S 30 mm f/2.8 ASPH lens (pictured above).

Press release:

LEICA S2 Firmware Update

The latest LEICA S2 firmware update FW 1.0.2.0 supports the LEICA ELMARIT-S 30 mm f/2.8 ASPH. wide-angle lens.

This fifth firmware update has been specially developed for the use of the camera with the new Leica Elmarit-S 30 mm f/2.8 ASPH. wide-angle lens and ensures optimum functionality of this lens on the Leica S2 body.

Users wishing to bring their camera up to date can now take immediate advantage of the improvements offered by this upgrade. Registered S customers can now download the files containing the firmware and an installation guide from the owners’ area at www.s.leica-camera.com.

Adorama special on Fuji IS Pro UV-IR DSLR

Adorama in NYC has a special on the Fujifilm IS Pro body. Save 25% on the regular price $799.95 (Sale Price $599.95), plus free shipping.

Follow this link to buy (it won't cost you extra).

Read our review of the Fuji ISO Pro camera here.

Leica announces firmware update v2.0 for Leica D-Lux 5

Press release:

Leica announces firmware update 2.0 for Leica D-Lux 5
 
16 December 2011: Leica Camera AG has announced the release of a new firmware update (version 2.0) for the Leica D-Lux 5. The firmware update can be downloaded, with an installation guide, from the Downloads area of the Leica D-Lux 5 page on the Leica Camera web site.
 
This new firmware offers D-Lux 5 users the following updates:
 
    •    Improved autofocus speed within the wide-angle range
    •    Simpler operation of fine adjustments in manual focusing mode
    •    Improved automatic white-balance precision in low light conditions
    •    High-ISO noise reduction at ISO 1600 and ISO 3200
    •    Incorporation of an ‘Active mode’, which reduces blur in movie recording when in motion
    •    A new ‘Miniature effect’ in the ‘My Colour Mode’ (available in photo and video modes)
    •    Improved AF/AE Lock with shutter button half depressed
    •    Long exposure time increased in manual mode from 60 to 250 seconds
    •    Addition of manual adjustment of the LCD monitor and external viewfinder to the camera settings menu
 
A detailed description of the new and improved functions is also available at: http://d-lux5.leica-camera.com

NEC announces SpectraView Profiler version 5

NEC Display solutions, the makers of the outstanding SpectraView pro-level monitors has announced version 5 of the SpectraView profiler software. The upgrade allows users to perform hardware calibration via USB or DDC/CI as well as providing full support of 3D LUT functionality. Also included is support for the latest basICColor DISCUS and X-Rite i1Display Pro colorimeters. Version 5 is immediately available as a free download for existing SpectraView® users on the Mac and PC platforms, including Apple OS X Lion and Microsoft Windows 7.

NEC launches SpectraView® Profiler 5 Software

Updated colour-calibration software package brings host of new features to SpectraView users
 
London, 16 December 2011 – NEC Display Solutions Europe has announced the launch of SpectraView® Profiler 5, the latest version of its sophisticated colour calibration software.
 
Designed for reference display users that require highly accurate display calibration and profiling for colour critical applications, the update delivers a host of new features all wrapped in a brand new interface with application preset and express calibration buttons easily accessible.
 
This latest version builds on the powerful existing functionality of the Profiler application, and now allows users to perform hardware calibration via USB or DDC/CI as well as providing full support of 3D LUT functionality. Also included is support for the latest basICColor DISCUS and X-Rite i1Display Pro colorimeters.
 
SpectraView® Profiler 5 is compatible with all NEC SpectraView® displays, including the NEC SpectraView® 231 and NEC SpectraView® Reference 241, 271 and 301 displays.
 
“NEC prides itself on providing a range of best-in-class, colour-critical displays for the pre-press, soft-proofing, professional photo and creative professional, and for these people the SpectraView® Reference range is the benchmark,” said Christopher Parker, Product Line Manager Professional Displays at NEC Display Solutions Europe. “This update to the SpectraView® Profiler 5 Software enhances our capability for providing perfectly calibrated image quality that is reliably maintained over the display lifetime.”
 
Availability
The SpectraView® Profiler 5 Software is immediately available as a free download for existing SpectraView® users on the Mac and PC platforms, including Apple OS X Lion and Microsoft Windows7 from: www.spectraview.nec-display-solutions.com

NEC SpectraView® displays will ship with the Profiler 5 Software from January 2012 onwards.

Related posts

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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.

Adorama Canon EOS-5D Mk II specials

Canon EOS-5D Mark II Digital SLR Camera Body Kit,- USA Warranty - Slinger Camera Bag - FREE: Red Giant Adorama Production Bundle for PC/Mac a $599.00 Retail Value
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Canon EOS-5D Mark II Digital SLR Camera Body Kit with Canon EF 24-105L Image Stabilized Lens
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