Indholdsfortegnelse for Handbook 2020 i Camera

When we were compiling last year’s Camera Handbook, Canon and Nikon had just unveiled their full-35mm format mirrorless camera systems and Panasonic’s Lumix S line was yet to be announced, but wasn’t far away. As we noted back then, the implications for the future in interchangeable lens cameras was going to be significant. And so it has proven. All the mirrorless camera makers – and that’s just about everybody now, including Sigma – are busy expanding their lens systems to provide more complete offerings, and a number have already reached the point where they’re matching what’s been available in the major D-SLR systems – Fujifilm X mount, Panasonic/ Olympus M43 and Sony FE. Sony gets the gold star here for having gone from just one FE lens to a line-up…

You can see the attraction of shooting video with the Coolpix P1000, can’t you? The drama of the massive zooming range really is emphasised when experienced through moving pictures and the good news is that the P1000 has enough on board for the enthusiast-level video-maker to achieve satisfying results. You can shoot in the Ultra HD 4K resolution of 3840x2160 pixels at 30 or 25 fps in the MP4 format and with stereo sound. The built-in mics can be supplemented by an external pick-up which then allows for the manual adjustment of recording levels. There’s also a wind-cut filter and the built-in mics also have a ‘zoom’ function so they become more directional, progressively cancelling out off-axis sounds. Full HD footage can be recorded at 50 or 25 fps (PAL…

The Micro FourThirds sensor format is tailor-made for video which is why Panasonic has its GH series cameras and Olympus has been emphasising the video capabilities of the E-M5 Mark II and E-M1 Mark II. The E-M1X has more, but interestingly Olympus sees this as more of a photographer’s camera than anything else… with video primarily provided for stills shooters who occasionally need to record moving pictures. Nevertheless, there are plenty of reasons why videographers might like the E-M1X, including its dual memory card slots and dual batteries. Then there’s the fully-articulated monitor screen, heavy-duty bodyshell with class-leading weather protection, faster autofocusing and very efficient image stabilisation. The new ‘heat pipe’ arrangement also has benefits when shooting video, helping to reduce temperature build-ups. There are some negatives, though, such as…

The SL full-35mm mirrorless camera is Leica’s star performer as far as video is concerned while the TL2 – and now the CL – have enough for photographers who occasionally want to make video clips, mostly for fun. Neither is likely to figure on the shopping lists of dedicated video-makers. Nevertheless, the CL can record 4K video in the Ultra HD resolution 3840x2160 pixels at 30 fps. The alternative resolution settings are Full HD at either 30 or 60 fps and HD at 30 fps. Clips are recorded in the MP4 format with MPEG 4 AVC/H .264 compression and 4.0 GB file size limit (but with automatic partitioning so recording isn’t interrupted). Stereo microphones are built-in, but there’s no provision for connection an external mic (in fact, unlike the TL2,…

· Compact and lightweight aluminium body, weather sealed at 42 points · Heat sink structure to minimise temperature build-up · L-Mount compatible (for lenses from Sigma, Leica and Panasonic) · Full-frame BSI-CMOS sensor with 25.3 megapixels resolution · Contrast-detection AF with face/eye detection · Electronic shutter for silent and vibration-free operation · Large 8.0 cm LCD monitor screen with touch controls · Up to 18 fps continuous shooting · 12- or 14-bit Adobe DNG RAW capture for stills · ‘Fill Light’ image processing in-camera · 12-bit CinemaDNG external video recording via HDMI at 24 fps · 8- or 10-bit CinemaDNG internal video recording via HDMI at 25 or 30 fps · ‘Teal And Orange’ adjustable colour mode for Hollywood-look movies · ‘Cinemagraph’ animated GIFs creatable in-camera…

More details about any of the products featured on these pages are available from: C.R. Kennedy & Company Pty Ltd, 300 Lorimer Street, Port Melbourne, Victoria 3207. Telephone (03) 9823 1555 or visit https://crkphotoimaging.com.au Alternatively, contact your nearest C.R. Kennedy & Company state office in NSW, Queensland, South Australia and Western Australia. C.R. Kennedy & Company is the exclusive Australian distributor for many of the most respected names in photography, including Pentax, Ricoh, Sigma, Hasselblad, Profoto, DJI, Minox, Hoya, Bowens, Cokin, Metz, Joby, BlackRapid, Kenko, HPRC, Ilford, LensBaby, Lenspen, ONA, Barber Shop, Rotolight, Tamrac, Tokina, Slik, Harman, Schneider, Vanguard, Western Digital, X-Rite and Zeiss.…

· Ultra slim magnesium alloy bodyshell · All new six-element f2.8 lens with a 28mm equivalent focal length · ‘APS-C’ CMOS sensor with 24.24 megapixels effective resolution · ‘AA Filter Simulator’ function · Ultrasonic sensor cleaning · Sensor-shift image stabilisation over three axes with four stops of correction · 2.0 GB of built-in memory · Hybrid contrast/phase-detection autofocusing with face detection · Macro focusing down to six centimetres · Ten ‘Image Control’ picture modes · Touch screen controls, including for autofocusing…

It’s an indication of how well executed Sony’s A series full-35mm mirrorless cameras were right from the start that all the original models are still available close to five years after their launch and now after third-generation upgrades for the original A7 and A7R. This has enabled Sony to market a wider range of bodies (numbering nine right now) with an entry-level price now at $1499 which is a lot cheaper than anything in the D-SLR world (except for Sony’s own A77 II). It’s all about making converts and, once you’re committed, you’re very unlikely to go anywhere else except upwards through the FE mount system. If you’re already an A7 user who skipped the Mark II upgrade, you’re probably about ready for the A7 III, but this model is…

Long Exposures When you have a lot less light to work with, you have to think about how to make a good exposure. Normally, you’d use a combination of aperture and shutter speed, but in low light situations, a lens’s aperture range is limited, so it’s a case of resorting to longer exposures. Put simply, the shutter stays open for longer, so more light reaches the imaging sensor to produce an exposure. With night photography, exposure times will often be measured in full seconds and even minutes… which creates specific challenges, particularly in terms of making sure that the camera doesn’t move – even very slightly – while the shutter is open. Tripods Image stabilisation systems are becoming ever more effective, but there’s always going to be a limit on…

Type: Professional digital mirrorless camera with Nikon Z bayonet lens mount Focusing: Automatic via 493-point wide-area system (90 percent vertical/horixontal frame coverage) using hybrid phase/contrast detection. Focus points may be selected manually or automatically with Pinpoint, Single-Point, Dynamic Area, Wide Area (large or small) and Auto Area modes. One-shot and continuous modes with auto switching in AF-F mode. Tracking and face recognition modes. Adjustable tracking sensitivity. Sensitivity range is EV -1.0 - 19 (ISO 100, f2.0), down to EV -4.0 with Low-Light AF function. AF assist provided by built-in illuminator. AF micro-adjustment available. Manual focus assist in live view via magnified image (up to 16x) and/ or focus peaking display (choice of colours – red, yellow, blue or white; and high, standard or low sensitivities). Metering: TTL via sensor with…

Type: Enthusiast-level, fixed lens ‘superzoom’ digital camera. Lens: Nikkor 4.3-539mm f2.8-8.0 ED VR (equivalent to 24-3000mm), 17 elements in 12 groups (including five ED elements and one ‘Super ED’ element). 4.0x digital zoom. ‘Dynamic Fine Zoom’ function gives 2.0x with resolution enhancement processing. Accepts 77 mm diameter screwthread filters. Focusing Type & Range: Contrast detection with single-shot or continuous operation using up to 99 focusing points. 30 cm to infinity; macro focusing down to 1.0 cm. Face detection, auto or manual point selection (spot, normal or wide), subject tracking and target finding modes. Low light assist via built-in illuminator. Manual focusing assist via a distance scale, magnified image (up to 4.0x) and focus peaking display. Shutter Type & Speeds: Electronically-controlled leaf combined with sensor-based exposure start, 30-1/4000 second plus ‘B’…

Type: Fully automatic digital mirrorless camera with Leica L bayonet lens mount. Focusing: TTL automatic with contrast-detection measurement using 49 focusing points. Spot, Field and Multi Point area modes. Face detection, auto tracking, ‘Touch AF’ and ‘Touch AF+Release) modes. Manual switching between single-shot and continuous operation. Sensitivity range is EV 0 - 18 (ISO 100). Low light/contrast assist provided by built-in illuminator. Manual focus assist via magnified image (3x or 6x) and focus peaking display (choice of red, green, blue and white colours). Metering: Multi-zone, centre-weighted average, spot and TTL auto flash. Metering range is EV 0 to 18 (ISO 100/f2.0). Exposure Modes: Continuously-variable program with shift, shutter-priority auto, aperture-priority auto and metered manual. Subject/scene modes for sports, portrait, landscape, night portraits, snow/beach, fireworks, candlelight, sunset, digiscoping, miniature effect, panorama…

· Extremely compact design – roughly the same size as a big tele lens · 500 joules flash power – equivalent to ten on-camera speedlights · Ten-stop stepless flash power adjustment range · Flash recycling times of 0.05 to 2.5 seconds · 150 watts LED modelling lamp · Continuous light source of up to 2500 lumens brightness · Adjustable brightness and colour temperature with continuous lighting · 200 full-power flashes from a battery charge · Compatible with 120+ light-shaping tools from the Profoto system · Compatible with all Profoto Air remotes, including the A1/A1X flashes…

Designed specifically for outdoor, travel and adventure photographers, the Vanguard Veo collection comprises tripods, tripod heads, monopods, camera bags, photo backpacks and support accessories. The emphasis with every product in the Veo range is on strength and durability combined with lightness and useability. These are all attributes that are essential for photographers shooting in remote locations and often in extreme conditions. The Veo 2 series tripods are available in carbonfibre or aluminium, and in a range of sizes and supporting weight capacities. The popular Veo 2 235AB is a lightweight travel model with five-section aluminium legs which give a useful maximum extension of 145 cm. An innovative ‘Central Column’ rotation system allows you to set the central column and legs in less than 15 seconds. For further flexibility with height,…

Like the EOS R, the RP is a bit of a mixed bag for video shooters and, consequently, it’s unlikely to challenge the EOS 5D Mark IV as the Canon weapon of choice of serious videographers, even if it does offer all the advantages of the mirrorless configuration. The big plusses are the fully-articulating monitor screen, the excellent touch control implementation (especially for focusing), the ‘Dual Pixel CMOS’ AF autofocusing – although this isn’t available when shooting in 4K – and features such as ‘Movie Servo AF’ which is adjustable for transition speed and tracking sensitivity. The RP also gets big ticks for having both a stereo audio input and output, electronic image stabilisation with five-axis correction (which makes up for the absence of IBIS), both focus peaking displays and image…

With its long history in cinematography – making both film (which is how the company started) and lenses, it’s a bit of a surprise that Fujifilm has taken a while to get into gear with video in its X mount mirrorless cameras. But it really steps up to the plate with the X-T3 which is easily as accomplished a ‘hybrid’ video/ still camera as the best from Panasonic or Sony. It looks a bit like Fujifilm went through the specs of the Lumix GH5 and decided to give the X-T3 the full works too. Soooo… the X-T3 shoots 4K Ultra HD (3840x2160 pixels) or Cinema 4K (4096x2160 pixels) at 60, 50, 30, 25 or 24 fps, using a 1.18x crop on the ‘APS-C’ sensor. Significantly, at 60 or 50 fps,…

Panasonic has now announced the more video-orientated S1H which will undoubtedly be the pick of the Lumix S litter for dedicated video-makers, but the S1R still delivers enough satisfy photographers who also dabble in moving pictures. It records the 4K UHD resolution (3840x2160 pixels) at 50 or 25 fps (PAL standard) in the MP4 format with Long GOP compression (which is a form of interframe coding) and a maximum bit rate of 150 Mbps. You can also record UHD clips at the cinematic 24 fps with a bit rate of 100 Mbps. It’s with 8-bit 4:2:0 colour internally and 8-bit 4:2:2 colour externally via the camera’s HDMI connection (however, the S1 has 10-bit colour internally and is upgradable to a 10-bit 4:2:2 output). Usefully, an HDMI cable lock holder is…

While, not surprisingly, the Z 6 and Z 7 share a lot when it comes to video recording, there are some key differences. The most important of them is that the Z 6 records with a full pixel readout (i.e. no pixel binning) from across the full sensor width at 6K resolution before downsampling to 4K for enhanced image quality (similar to Sony’s A7 III). This means lens focal lengths remain the same and the image quality, particularly sharpness and definition, are exceptional. The 4K clips are recorded in the Ultra HD resolution of 3840x2160 pixels at either 25 fps (PAL standard) or 24 fps with MPEG-4 AVC/H .264 compression in either the MOV or MP4 formats. The Full HD (1920x1080 pixels) frame rates run up to 100 fps (or…

Sony’s attitude to video appears to be to give all its mirrorless cameras what amounts to pro-level capabilities and then let pricing sort out who buys what model. After all, a lot of what drives a still camera’s video functionality is firmware or software related and, up to a point, doesn’t have a big impact on the bottom line. It makes a lot of sense, although of course, Sony has both the experience and expertise to make this work. Thus the A7 III follows the A7R III and A9 in having a feature set for video that good enough for professional applications and more than enough for the enthusiast-level film-maker. This starts with the recording of 4K video using the full width of the sensor with no pixel binning so…

Sigma Art Lenses In Sony FE Mount So far, 11 of Sigma’s much-awarded and much-acclaimed Art series lenses are now available in the full-frame version of Sony E-mount. Sigma’s Art line lenses boast a very high level of quality and performance – both physically and optically – which has seen them compared favourably with products from both Leica and Zeiss. The 11 Art line primes in the FE mount cover 14mm to 135mm. Importantly, Sigma has obtained a licensing agreement with Sony which means the E-mount Art lenses are fully compatible with all the A7 and A9 series full-frame mirrorless cameras, including the ‘Fast Hybrid AF’ continuous autofocusing mode, the in-body image stabilisation, and in-camera lens corrections – for peripheral illumination (vignetting), chromatic aberrations and distortion. Available at selected camera…

The Veo Go series of camera shoulder bags comprises the GO15M, GO24M and GO34M which are compact but stylish models particularly suitable for mirrorless camera systems. They feature fully-padded designs with convenient top access and the security of a full zippered closure. Removable dividers allow for flexible arrangement of the internal configuration to accommodate various combinations of camera body and lenses. The bigger GO34M model can also fit a Veo 2 Go series travel tripod in a full-length lower compartment. Additionally, there’s a large front pocket for items such as a tablet, and a secure rear pocket for holding a wallet or travel documents. If you need to carry more camera gear on location, the Veo GO42M and GO46M photo backpacks are designed to deliver both comfort and convenience. They’re…

Type: Enthusiast/professional digital mirrorless camera with Canon RF bayonet lens mount. Focusing: Automatic via 4779-points wide-area system using phase-difference detection measurements via ‘Dual Pixel CMOS AF’ giving 100 percent vertical coverage and 88 percent horizontal coverage. 143 focus points available for automatic selection. Area modes are Single-Point AF, Spot AF, Expand AF (vertically/ horizontially), Expand AF (around), Zone AF, Large Zone AF (vertical), Large Zone AF (horizontal) and Face+Tracking plus Eye-Detection AF. Adjustable AF point size (small or large). One-shot and continuous (AI Servo) modes with manual switching. Continuous AF with predictive function and acceleration/deceleration tracking and adjustable tracking sensitivity. Touch & Drag AF operation via touchscreen monitor when using EVF. Low light assist via built-in LED illuminator. Sensitivity range is EV -5.0 – 18 (f2.8, ISO 100). Manual focus…

Type: Enthusiast-level/professional digital mirrorless camera with Fujifilm X bayonet lens mount. Focusing: TTL automatic hybrid system using both phase-difference detection and contrast-detection measurements with 425 measuring points (25x17 pattern) in total. Single-point (five sizes), zone (13x9, 7x7, 5x5 or 3x3 point clusters selected from 117 points) and wide/ tracking modes. Five tracking scenarios plus a Custom setting (to adjust Tracking Sensitivity, Speed Tracking Sensitivity, Zone Area Switching). Face/eye detection with left/right priority. Manual switching between one-shot and continuous AF modes. AF+MF mode. Lowlight assist via illuminator. Manual focus assist via magnified image, ‘Digital Split Image’ display (colour or B&W), ‘Digital Microprism’ or focus peaking display (white, red or blue; low or high levels). Sensitivity range is EV -3.0 - 18 (ISO 100). Metering: 256-point multi-zone, centre-weighted average, full average, spot…

Type: Professional level digital mirrorless camera with L bayonet lens mount. Focusing: Automatic 225-point wide-area system using contrast-detection via imaging sensor using ‘Depth From Defocus’ (DFD) processing at 480 fps. Manual and automatic switching between one-shot and continuous AF modes, the latter with auto tracking. Four ‘AF Custom’ settings for fine-tuning subject tracking with three parameters – AF Sensitivity, AF Area Switching Sensitivity and Moving Object Prediction. Automatic subject detection for Face, Eye, Body And Animal. Area modes for Zone (Vertical/Horizontal), Zone (Square), Zone (Oval), 1-Area, 1-Area+Supplementary, Pinpoint or Custom 1-3. Adjustable 1-Area point switching speed. Touchpad AF point/zone selection available via touchscreen monitor. AF assist via magnified image, either full image or picture-in-picture with ‘AF-Point Scope Setting’ for active point/zone enlargement. Sensitivity range is EV -6.0 - 18 (ISO…

Type: Enthusiast/professional digital mirrorless camera with Nikon Z bayonet lens mount Focusing: Automatic via 273-points wide-area system (90 percent vertical/horixontal frame coverage) using hybrid phase/contrast detection. Focus points may be selected manually or automatically with Pinpoint, Single-Point, Dynamic Area, Wide Area (large or small) and Auto Area modes. One-shot and continuous modes with auto switching in AF-F mode. Tracking and face recognition modes. Adjustable tracking sensitivity. Sensitivity range is EV -2.0 - 19 (ISO 100, f2.0), down to EV -4.0 with Low-Light AF function. AF assist provided by built-in illuminator. AF micro-adjustment available for up to 30 lenses. Manual focus assist in live view via magnified image (up to 16x) and/or focus peaking display (choice of colours – red, yellow, blue or white; and high, standard or low sensitivities). Metering:…

Type: Enthusiast/professional interchangeable lens mirrorless digital camera with Sony E bayonet lens mount (FE mount). Focusing: Automatic via hybrid contrast-detection and phase-difference detection systems. 693 points with phase-difference detection, 425 points with contrast-detection. Focus points may be selected manually or automatically by the camera with Wide, Zone, Centre, Flexible Spot (small, medium or large) and Expanded Flexible Spot area modes. Lock-On AF available with all five area modes. Focus area registration and recall. Single-shot and continuous modes with auto or manual switching, ‘Direct Manual Focus’ override, auto tracking, face detection/recognition and eye detection. Adjustable tracking sensitivity (five levels from Locked On to Responsive). Sensitivity range is EV -3.0 to 20 (ISO 100/f2.0). Low-light AF assist provided by built-in LED illuminator. Manual focus assist via magnification (up to 11.7x) and focus…

Starting with a clean slate has enabled Nikon to come up with its most capable ILC yet when it comes to shooting videos. Apart from the obvious advantage of the mirrorless configuration for this application, the Z 7 is very well featured for videography, including zebra patterns, an N-Log gamma profile (to optimise dynamic range), a focus-peaking display and embedded time coding. While the lower-res Z 6 records with a full pixel read-out (i.e. no pixel binning) from across the full sensor width at 6K resolution before downsampling to 4K for enhanced image quality (similar to Sony’s A7 III), the Z 7 also uses a full pixel read-out, but only in the APS-C ‘DX’ format so the 1.5x focal length magnification factor comes into play. However, the image quality is…