Innehållsförteckning för March - April 2016 från Camera

LET’S BE HONEST, most of us would like to have a digital medium format camera if only they were more affordable. Even the cheapest option – Pentax’s excellent 645Z – is still pricier than a top-of-the-line D-SLR with a full-35mm sensor, and that’s even before you start to consider lenses. But there are imaging quality benefits associated with big sensors – most notably an increased dynamic range – which simply can’t be had any other way. No software-based short-cuts available here. It was the same in the film days, except that there was much more choice and some rollfilm cameras were actually quite reasonably priced… like the fixed-lens rangefinder models and the last of the twin lens reflexes (TLRs). The TLR’s glory days were in the 1940s and ’50s before…

Type: Professional digital medium format SLR with Mamiya 645AF bayonet lens mount. Focusing: TTL automatic via phase-detection type using one megapixel CMOS ‘Honeybee’ sensor array. ‘Floating Point Architecture’ processing with Spot, Average and Hyperfocal modes. Manual switching between one-shot and continuous modes, full-time manual override using focusing collar on lenses, low light/ contrast assist via built-in ‘Precision White Light’ illuminator. AF micro-adjustment for up to 32 lenses. Metering: TTL using one megapixel CMOS sensor with matrix, average and spot measurements plus TTL flash metering. Exposure Modes: Program, shutter-priority auto, aperture-priority auto, metered manual, and TTL auto flash. Exposure compensation up to +/-5.0 EV in 1/3, 1/2 or in full stop increments. Shutter: Electronic, focal plane type, 60 minutes to 1/4000 second plus B. Flash sync up to 1/125 second. Schneider…

“THE CLASSIC 500 SERIES SLR BODIES ARE PRETTY AFFORDABLE THESE DAYS SO EVEN FACTORING IN BUYING A COUPLE OF LENSES, THE SUB-$15K CFV 50C IS COMPARATIVELY AFFORDABLE ROUTE IN DIGITAL MEDIUM FORMAT PHOTOGRAPHY.” You may not know this, but digital photography began with interchangeable capture devices – better known simply as backs – fitted to existing medium format SLR bodies. Those first backs were actually scanners which made for very long exposures and demanded static subjects, but we quickly moved onto area array sensors and the rest, as they say, is history. But you may not know this either – you can still take this route into digital medium format photography, fitting a contemporary capture back to a film-era camera body. This body has to, of course, allow for the…

Time lapse recording is also available and at the 4K resolution of 3840x2160 pixels too (without sound obviously), but since Motion JPEG compression is used here, the resulting AVI files are huge. Ricoh has always trod cautiously where video is concerned so it’s perhaps not surprising that the 645Z doesn’t have ‘normal’ continuous 4K shooting which would have made it really interesting… as would an uncompressed video feed to its HDMI connector and aids such as a zebra pattern generator. Consequently, the attractions of the bigger sensor aside, this is still primarily a stills camera.…

THE HUNT IS ON FOR THE... AUSTRALIAN TEENAGE PHOTOGRAPHER OF THE YEAR! We’re looking for the most talented teenage photographer in Australia so, if you’re aged between 13 and 19, and think you’ve got what it takes to be published on these pages, then start putting your portfolio together. The search for the Australian Teenage Photographer Of The Year is on and we’re up to our fifth finalist which means there’s just one chance left for you to be in the running. Don’t miss this great opportunity to get your portfolio of favourite images published on these pages… and perhaps kick off a career in photography. At the end of the competition, we’ll judge all six finalist portfolios and crown somebody the Australian Teenage Photographer Of The Year. Our good…

“JUST BEING ABLE TO BUY A 4K DISPLAY IN THIS SMALLER SCREEN SIZE IS A GOOD START, ESPECIALLY FOR ANYBODY WHO DOESN’T HAVE A HUGE AMOUNT OF DESK SPACE AT THEIR DISPOSAL.” There are plenty of experiences in imaging which make it hard to go back and one of them is undoubtedly seeing a 4K resolution display for the first time. After this, 2K simply doesn’t cut the mustard. Moving up to 4K is becoming more and more inevitable as the number of 4K video recording devices steadily increases as does, of course, ultra-high resolution still capture in the range of 30 to 50 megapixels. With its new 27-inch 4K resolution (Ultra HD to be specific) LED backlit monitor, ViewSonic throws comparative affordability into the mix and while the VP2780-4K…

1 Hasselblad 500C/M The most classical of classic medium format SLRs and a chance to own one of photography’s great marques. 2 Fujica/Fuji GS645S A small camera capable of great things, and fun to use too. Still no digital equivalent either. 3 Pentax 645 So ahead of its time, it still feels contemporary over 30 years later. 4 Mamiya C330 The best TLR ever made and without the price premium that comes with the Rolleiflex badge. 5 Hasselblad SWC Most desirable in the later 903 and 905 variants, but all models are rare and exotic photographic gems.…

You can enter digital images into the Fujifilm Showcase and files can be supplied on CD or DVD via mail or via email to cameracomp@avhub.com.au The requirements for submitting digital files are as follows. • 300 dpi resolution, and at a file size which enables a reproduction of up to 20x15 cm. Please avoid submitting overly large file sizes, especially when emailing the images. Up to 4.0 MB in file size is more than sufficient. • Digital retouching and manipulation is permitted, but the judges will continue to reward good camera techniques. • Full details of the actual camera, lens and any retouching must be supplied with the image. Images can be titled if you wish, but this isn’t essential. Please make sure your CDs or DVDs are marked with…

Current to 22 May: Exhibition. Imprint: Photography And The Impressionable Image. Images which explore the association between photography and the sculptural cast, investigating the exchange between an object and its echo. Artists include Ingeborg Tyssen, Lewis Morley, Horst P Horst, Peter Lyssiotis, Juliana Swatko and Werner Rohde. Art Gallery of NSW, Art Gallery Road, The Domain, NSW 2000.Telephone (02) 9225 1744 for more information or visit the website at www.artgallery.nsw.gov.au Admission is free. Gallery hours are 10.00am to 5.00pm daily (open to 9.00pm on Wednesdays). 30 April – 6 June: Exhibition. Head On Portrait Prize 2016. At the Museum Of Sydney, corner Bridge and Phillip Streets, Sydney, NSW 2000. Gallery hours are 9.30am to 5.00pm daily. For more information telephone (02) 9251 5988 or please visit www.hht.net.au For…

If 50 megapixels and around $53,000 isn’t quite enough for you, then how about 100 MP of resolution and a price tag of just under $65,000? Phase One is the first to hit the magic 100 megapixels market with a new IQ3 series capture back which delivers 101 MP. The image size is 11,608x8708 pixels which translates into a massive output size of 73.2x96.3 centimetres at 300 dpi. The dynamic range is an impressive 15 stops. What’s more, this 100 MP sensor is a CMOS device – a co-development between Phase One and Sony – and has a sensitivity range equivalent to ISO 50 to 12,800. Colour is processed at 16-bits per RGB channel to deliver a wider colour gamut and, quite simply, truly stunning image quality. If you want…

Type: Fully portable digital camera back for one-shot RGB capture. Supported Cameras: Hasselblad V System (i.e. most 500-series models since 1957). The 2000 and 200-series models with some limitations. View and wide-angle cameras via V System adaptor plate. Sensor Type/Size: CMOS, 32.9x43.8 mm. Number of Pixels: 50 million (6200x8272 pixels). Focal Length Conversion Factor: 1.45x with 6x6cm format lenses. A/D Conversion: 16-bit per RGB colour. Storage Medium: CompactFlash memory cards with UDMA speed support. Data Compression: Lossless on Hasselblad 3F RAW files. Typical file size is 65 MB. JPEG compression on 12.5 megapixels ‘print ready’ files. Sensitivity Range: ISO 100 - 6400. Shooting Speed: 1.5 frames per second. White Balance: Presets for Daylight, Cloudy, Shade, Flash, Fluorescent and Tungsten. Manual colour temperature setting from 2000 to 10,000 degrees Kelvin. Custom…

Type: Fully automatic medium format digital SLR with Pentax 645AF2 bayonet lens mount. Focusing: Automatic via 27-point wide-area system using phase-detection type CCD sensor arrays (including 25 cross-type arrays). Focus points may be selected manually or by the camera. Manual or auto switching between one-shot and continuous modes, the latter with a predictive function. Spot, Select, Expanded Area and Zone Select area modes. Sensitivity range is EV -3.0 to 18 (ISO 100). AF assist provided by built-in LED illuminator. AF micro-adjustment for up to 20 lenses. Contrast-detection AF in live view with manual assist via magnified image (up to 16x) and focus peaking display. Metering: TTL via 86,000 pixels RGB sensor with multi-pattern evaluative, centre-weighted average, spot and P-TTL flash measurements. Metering range is EV -1.0 to 21 (ISO 100/55mm…

It’s up to the individual to sort out the settings for each paper type. Running a magnifier over the prints may be helpful, but in the end it’s what is perceived at a normal viewing distance.The general advice is to go to the Level 5 quality setting with gloss media and settle for Level 4 for matte. However, when it’s a critical print, I’d always opt for Level 5 quality with the high speed option switched off… and not worry about longer print times. THE TIME RESULTS FOR AN A3 PRINT ON THE SC-P800…

Panel Type: 68.58 cm (27 inches) ‘SuperClear’ AH-IPS TFT LCD with LED backlighting. Display Area: 596.74x335.66 millimetres (full scan). 16:9 aspect ratio. Native Resolution: 3840x2160 pixels. Pixel Density: 163 ppi. Viewing Angles: 178 degrees horizontal and vertical Brightness: 350 cd/m² (typical). Contrast: 1000:1 (typical). Display Colours: 1.07 billion from a palette of 4.39 trillion. Colour Range: 100 percent of sRGB. Internal Processing: 10-bits per colour Height Adjustment Range: 15.0 centimetres. Mount Adjustments: -5-23 degrees tilt, 60 degrees left/right swivel and 90 degrees pivot (for portrait format). Connections: HDMI 2.0, HDMI 1.4 (2). Display Port 1.2a, Mini Display Port, USB 3.0 (5 in total), 3.5 mm headphone output. Features: 14-bit LUT and 3D LUT, seven picture presets (sRGB, Bluish, Cool, Native, Warm, User and EBU), independent 6-axis colour adjustment (Red, Green,…

While there’s yet to be any formal announcement globally, it would appear Samsung has decided to exit the camera business after recording lack lustre results in most major markets, including Australia. The company had already announced at the end of 2015 that it would no longer be selling cameras in Europe and that the NX1 – undoubtedly its best mirrorless model ever – had been discontinued. This is apparently also the case in Scandinavia and, according to one report, Australia where some retailers have been told the NX System is finished. Samsung had been talking a big game in cameras for a while, but finally delivered with the excellent NX1 and its NX500 cousin. However, it appears neither were enough to turn the sector around sufficiently for Samsung. Another rumour…

THREE UPDATED VERSIONS of popular wide-angle primes have been announced by Leica and will be available in Australia over the next couple of months. All have more robust constructions – including full-metal rectangular lens hoods and metal lens caps – and revised optical designs to optimise performance. All three are manufactured in Germany and feature compact designs to enhance their suitability for applications such as photojournalism and street photography. The three models comprise a Summicron-M 28mm f2.0 ASPH and Summicron-M 35mm f2.0 ASPH, plus an Elmarit-M 28mm f2.8 ASPH. The new 35mm f2.0 is available in either silver or black finishes (both priced at $4550) and has a seven-element optical construction with an 11-blade diaphragm for smoother out-of-focus effects. It has a minimum focusing distance of 70 centimetres. Both the…

The new UltraChrome HD inkset comprises photo black, matte black, light black, light light black, vivid magenta, vivid light magenta, cyan, light cyan and yellow. The photo black for gloss, semi-gloss and lustre media, and the matte black for matte or fine-art media share the same line into the print head and interchange according to the paper type. Coding for the ink set runs from T8502 to T8509. Start-up ink cartridges of 64 millimetres capacity each are supplied and thereafter the standard 80 millimetres cartridges are fitted. Epson promotes the UltraChrome HD inks as having enhanced colour gamut, deeper blacks (a Dmax of 2.86 claimed on Epson Lustre PGPP paper) and reduced bronzing on gloss media, along with greater print longevity over the UltraChrome K3 set. At this time Epson…

Printer Type: A2+ format (17 inches wide) for photo-quality prints via a nine-colour pigmented inkset (but eight cartridges in use at any one time with auto switching between matte black and photo black). Maximum Resolution: 2880x1440 dpi. Ink Cartridges: Individual per colour, 80 millilitres capacity. Epson UltraChrome HD pigments. Colours are photo black, matte black, cyan, light cyan, vivid magenta, vivid light magenta, yellow, light black and light black. Smallest droplet size is 3.5 picolitres via ‘Variable Droplet Technology’. Paper Sizes: Borderless printing on cut sheets from 90x130 mm up to A2. Paper rolls up to 431.8 mm in width can be fitted. Customisable print sizes. Interfaces: Hi-Speed USB 2.0, 100 Base-T Ethernet, WiFi. Epson iPrint Mobile App., Apple Airprint and Google Cloud Print. Acoustic Noise: 49.6 dB (A). Main…