CameraNovember/December 2017的目錄

NOW WE HAVE the measure of the mirrorless digital medium format cameras from Fujifilm and Hasselblad, is it time to make the move to the bigger sensor? While both are considerably more affordable than any of the reflex-based system, they’re still quite pricey compared to the top-of-the line cameras in any other format, D-SLR or mirrorless. Let’s assume, however, you’re in the fortunate position to have sufficient funds to spend on your next camera system, what then? Well firstly, note the word “system”. If you’re switching sensor format then you’re not just buying a new camera body; you’re up for at least a couple of lenses and whatever dedicated accessories you might need. Then there’s a good chance you’ll need to upgrade your wider system to cope with the much…

IF YOU’VE HAD your appetite whetted by this year’s winning images in the Pink Lady® Food Photographer Of The Year awards, why not have a go yourself? The 2018 competition is now open for entries in a wide range of categories which cover many aspects of food production, presentation and consumption. For 2018 there are some new categories and new judges, including Ferran Adria, the iconic chef of the oft-voted world’s best restaurant, El Bulli in Spain. The Pink Lady Food Photographer Of The Year competition has had an illustrious and evolving judging panel since its first year. The range of skill and expertise is extensive, from great photographers, creative directors, food retailers using the finest photography, photography gallery owners, chefs. Past judges have included Antonio Carluccio, Martin Parr, Yotam…

The year 2016 was a particularly challenging one for the camera industry after the earthquake which damaged Sony’s key sensor fabrication facility in Kumomoto, Japan, resulting in many delays and even the cancellation of some new products. (As an aside, it’s an indication of just how widespread is the use of Sony-made sensors, but that’s another story.) It took many months to get the facility up and running again, but subsequently it’s been like an opening of the flood gates, with a steady stream of new camera releases from Photokina 2016 onwards. Consequently, 2017 has been a stellar year in all camera categories, further helped along by the frenetic activity which is currently the accessory lens business.There have been many highlights, but they’re probably topped by the delivery of the…

It’s hard to know why Nikon hasn’t enjoyed quite the same traction among enthusiast- and pro-level video makers as Canon which has dominated here since the EOS 5D Mark II. The D850 has the potential to change this as Nikon has gone all-out to appeal to this audience, creating a video D-SLR that’s easily the measure of the EOS 5D Mark IV. Of course, it needs to be said that a mirrorless camera makes a lot more sense for video makers as a D-SLR’s optical finder is redundant. Needless to note that the D850 doesn’t come within cooee of the capabilities of Panasonic’s GH5 or Sony’s A7S II. However, if you want to both shoot video and stills, it’s a bit of a different story. For starters, the D850 records…

The EOS 5D Mark IV is, of course, Canon’s video star in D-SLRs, but even the more lowly models are starting to offer decent levels of functionality. As it does in the photography sphere, the EOS 77D offers a workable set of features with minimal sacrifices allied to its much greater affordability. Not surprisingly, there’s no 4K recording, but Full HD video can be recorded at 50 or 25 fps (or the NTSC speeds) and 24 fps with stereo sound. At 25 fps, there’s the option of using IPB Light interframe compression to give smaller file sizes.The maximum clip duration is still pegged at 29 minutes and 59 seconds, but automatic file creation is performed at every 4.0 GB’s worth of data (except with SDXC cards which are formatted in…

Format: Full-35mm digital sensors. Angle-of-View: 84.04 to 34.21 degrees (diagonal on 35mm). Construction: 17 elements/12 groups. Minimum Focus: 38 cm (across the focal range). Maximum Reproduction Ratio: 1:5 (at 70mm). Aperture Range: f2.8 to f22. Overall Length: 108.5 mm. Maximum Diameter: 88.4 mm. Filter Diameter: 82 mm. Weight: 900 grams. Lens Mount(s): Canon EF and Nikon F (G-type AF). Features: Weather-proofed barrel and mount, fluorine coating on the front element’s external surface, built-in ‘Vibration Compensation’ optical stabilization (normal and panning modes), internal focusing group, continuous manual focusing override, nine-blade diaphragm, electromagnetic diaphragm control, ‘eBAND’ and ‘BBAR’ anti-reflection multi-coatings, two XR (extra refractive index) glass elements, three LD (low dispersion) glass elements, one hybrid aspherical element, three glass moulded aspherical elements. Bayonet mount lens hood and lens pouch supplied. Compatible with…

With the Mark II versions of its E-M1 and E-M5, Olympus has become a darling of video-makers, especially as the Micro Four Thirds format is well suited to this application. The big deal with the Mark III iteration of the E-M10 is, of course, the step up to 4K video recording in the Ultra HD resolution of 3840x2160 pixels and at 30 fps (NTSC standard), 25 fps (PAL) or 24 fps. As before, there are built-in stereo microphones with manual levels adjustment, but no stereo audio input. What’s more, the previous model’s attenuator and wind-cut filter have been deleted. So has the option of switching between ALL-I and IPB compression when shooting in the Full HD resolution. However, the bit rate is adjustable via Super Fine, Fine and Normal quality…

Format: Full-35mm (Nikon FX) and ‘APS-C’ (Nikon DX) sensor D-SLRs, 35mm film SLRs. Angle-of-View: 180.00 degrees vertical and horizontal to 175.00 degrees diagonal, full-35mm sensor size. 180.00 degrees to 110.00 degrees diagonal, ‘DX’ format when the effective focal range 12-22.5mm. Construction: 15 elements/13 groups. Minimum Focus: 16 cm. Aperture Range: f3.5-4.5 – f22-29. Overall Length: 83.0 mm. Maximum Diameter: 77.5 mm. Filter Diameter: Screwthread filters cannot be fitted. Filter slot provided at the rear of the lens for cut filters. Weight: 485 grams. Lens Mount(s): Nikon F (E-type AF). Features: Magnesium alloy barrel tubes with weather seals, three ED (extra-low dispersion glass) elements, two aspherical elements, ‘Nano Crystal Coat’ anti-reflection multi-coating, ‘Super Integrated Coat’ multi-coating, fluorine anti-grime coating on the exposed element surfaces, internal focusing, ‘Silent Wave Motor’ (SWM) ring-type…

After the success of the 2015-16 competition, Australian Camera magazine is again searching for Australia’s most talented teenage photographers. If you’re currently aged between 13 and 19, you’re eligible to enter the new 2018 competition and show off your camera skills. We’re giving you the chance to have a portfolio of your images published over a double-page spread in Australia’s leading photography magazine. That means there are five more chances to see your best photos in print. At the end of the competition, we’ll judge all six successful portfolios and crown somebody the Australian Teenage Photographer Of The Year for 2018. The overall winner will be presented with the Australian Teenage Photographer Of The Year trophy and a grand prize of camera equipment. We’ll also be showcasing your images on…

THE BIG QUESTION is… when? Nikon has all but confirmed it will launch a new mirrorless camera system and it’s almost certainly going to be based on a full-35mm format sensor. So far, most of what’s known – which actually isn’t very much – has been released indirectly, but there’s now enough information to suggest the project is real and it will be here soonish. The most recent report quotes a senior Nikon engineer suggesting the camera will be full-35mm… which was never really in any doubt. In fact, he starts the quote with, “If Nikon will go mirrorless…”, but this seems to be typical Japanese coyness about an unannounced product. Our sniffing of the wind suggests that the new system is largely ready and may well be launched at…

CANON HAS UPDATED its TS-E line-up of tilt-shift EF mount lenses, introducing a trio of new models which embody a number of improvements to the optical design and the adjustment ranges compared to the existing lenses. The three new TS-E have focal lengths of 50mm, 90mm and 135mm; with the former two being f2.8 speed lenses while the 135mm has a maximum aperture of f4.0. The 135mm model is also a new focal length in the TS-E range while the new 50mm and 90mm replace earlier models (45mm and 90mm respectively). The existing TS-E 17mm f4.0L and 24mm f3.5L II wide-angles remain available. All three new lenses deliver a maximum magnification ratio of 1:2 (i.e. half lifesize) and feature magnesium alloy constructions. The optical constructions have been modernised to incorporate…

Type: Professional digital SLR with Nikon F (D-type) bayonet lens mount Focusing: Automatic via 153-point wide-area system using phase-detection type CCD sensor with 99 cross-type arrays. Focus points may be selected manually or automatically and either as single points or in groups (9, 25, 72 or 153) plus Group-Area AF mode which uses a wider detection zone made up of five points. Points re-orientated for vertical shooting. One-shot and continuous modes both with a predictive function. 3D Tracking and face recognition modes. Sensitivity range is EV -4 - 20 (ISO 100). AF assist provided by built-in illuminator. Contrast detection autofocusing in live view mode and with video recording. Manual focus assist in live view via magnified image (up to 16x) and/or focus peaking display (choice of colours – red, yellow,…

Type: Entry-level/enthusiast digital SLR with Canon EF-S bayonet lens mount. Focusing: Automatic via 45-point wide-area system using phase-detection type CMOS sensor. All points are cross-type arrays. Focus points may be selected manually or automatically, plus Zone and Large Zone area modes. One-shot and continuous (AI Servo) modes with auto/manual switching. Continuous AF with predictive function. Sensitivity range is EV -3.0 - 18 (ISO 100). AF assist in low light/ contrast situations is provided by the built-in flash. AF micro-adjustment for up to 40 individual lenses. Phase-detection AF available in live view and video via ‘Dual Pixel CMOS AF’. Focus assistance via a magnified image (up to 10x). Metering: 63-zone evaluative using 7560 pixels ‘RGB+IR’ sensor, selective area (6.0% of image area), spot (3.5%), centre-weighted average and E-TTL II auto flash.…

SAMYANG XP 14mm f2.4 $1399 Format: Full-35mm and ‘APS-C’ format digital sensors. The focal length is equivalent to 136mm with a 1.6x focal length magnification factor. Angle-of-View: 28.52 degrees (diagonal on 35mm). Construction: 10 elements/7 groups. Minimum Focus: 80 cm. Maximum Reproduction Ratio: 1:7.7. Aperture Range: f1.2 to f16. Overall Length: 98.4 mm. Maximum Diameter: 93.0 mm. Filter Diameter: 86 mm. Weight: 1050 grams. Lens Mount(s): Canon EF. Features: Aluminium alloy barrel tubes, manual focus, one aspherical element, two high-refractive glass elements, ‘Ultra Multi Coating’ (UMC) anti-reflection coatings, nine-blade diaphragm, Bayonet fit lens hood and lens pouch supplied. Price: $1199. Distributor: Maxxum Pty Ltd, telephone (03) 9314 4979, visit www.maxxum.com.au SAMYANG XP 85mm f1.2 $1199 Format: Full-35mm or ‘APS-C’ format digital sensors. The focal length is equivalent to 22.4mm with…

Type: Fully automatic, interchangeable lens digital camera with Micro Four Thirds System bayonet lens mount. Focusing: Automatic 121-point wide-area using contrast-detection measurement via the imaging sensor. Focus points may be selected manually or automatically by the camera. Manual switching between one-shot and continuous AF modes. Face/eye detection and auto tracking. Continuous manual override available with single-shot mode. Focus assist via magnified image (3x/5x/7x/10x/14x) and focus peaking display (Red, Yellow, White or Black). Metering: 324-point ‘Digital ESP’ (i.e. multi-zone), centre-weighted average, spot (2.0%) with highlight/shadow bias, and TTL flash. Metering range is EV -2.0 to 20 (ISO 100/f2.8). Exposure Modes: Continuously-variable program with shift, shutter-priority auto, aperture-priority auto, metered manual, TTL auto flash and TTL flash. Plus 27 subject/scene programs. Automatic scene detection in ‘iAUTO’ mode. Shutter: Electronic, vertical travel, metal…

2017 FUJIFILM SHOWCASE – GRAND PRIZE WINNER No doubt motivated by this year’s highly-desirable grand prize – a Fujifilm X-Pro2 mirrorless camera with an XF 23mm f2.0 lens – there was a flurry of entries in the months up to the closing date. Consequently, the last two rounds were very hotly contested, but the standard of entries for the whole year of competition was very high indeed. This gave the grand prize judges plenty to think about, but in the end, their decision was unanimous and this year’s Fujifilm Showcase champion is Steven Sandner from Victoria. As it happens, Steven won the last round of the 2017 competition with a stunning waterfall study which demonstrated excellent skills in framing, composition and using a long exposure time. Steven used a Panasonic…

FUJIFILM CONTINUES TO make maximum use of firmware upgrades to add to or expand the capabilities of its X Mount ‘APS-C’ format mirrorless cameras. The next round of upgrades for the X-Pro2, X-T2 and X-T20 models will be released in late November, and provide varying levels of enhancement. There will also be an upgrade for the fixed-lens X100F. The flagship X-Pro2 probably benefits most from its Version 4.0 upgrade which adds 4K video recording, tethered shooting via USB or WiFi, a new image recognition algorithm to give more reliable subject tracking, support for the new Fujifilm X RAW Studio converter, and improved third-party studio flash RF controller usability with TTL and HSS operation. Fujifilm X RAW Studio provides in-camera RAW file conversion to JPEG once the camera is connected to…

They must be putting something in the water over at Tamron at the moment. After a long period when great rival Sigma was making all the running, it’s now hard to keep up with the steady stream of new lenses from Tamron – both fresh designs such as the 18-400mm superzoom for ‘APS-C’ sensors, and the on-going ‘Generation 2’ program of upgrades models. We’ve already seen the G2 version of the SP series 70-200mm f2.8 telezoom – which compared very favourably with Nikon’s third-gen version of its AF-S 70-200mm f2.8 – and now it’s joined by the companion G2 24-70mm f2.8, similarly upgraded both inside and out. The new lens’s full model designation of ‘SP 24-70mm f2.8 Di VC USD G2’ provides some clues to what’s changed which, in reality,…

Type: Fully automatic, fixed lens hybrid camera delivering self-developing colour prints and recording JPEG digital image files. Sensor: 1.4-inch CMOS with 3.69 megapixels resolution. Lens: 28.5mm f2.4 (35mm equivalent) Focusing: TTL contrast-detection auto-focusing using a single measuring point. Built-in low light/contrast illuminator. Focusing Range: 10 cm to infinity. Shutter Speeds: ½-1/29,500 second plus B (up to ten seconds). Metering: TTL 256-segments multi-zone. Exposure Control: Programmed only with +/-3.0 EV compensation. Sensitivity: ISO 100 to 1600. Image Size: 46x62 millimetres (the print size is 54x86 mm). Continuous Shooting: Single shot only. Print Format: Instax Square. Print size = 86x72 mm. Image size = 62x62 mm. Storage: Internal flash memory and microSD memory cards. Flash: Built-in with auto, fill-in, slow-speed synchro and red-eye removal modes. Range is 50 cm to 8.0 metres.…

Circular fish-eye lenses can be great fun, but they can be overused, and the application is mostly purely creative. This means a circular fish-eye is really a ‘luxury’ addition to your lens kit, simply because you’re unlikely to be using it all the time. Not surprisingly, you’re likely to think this is money better spent elsewhere. But how about if a circular fish-eye came packaged with a full-frame fish-eye in the same lens? OK, the rectangular fish-eye’s applications are still reasonably specialised – the angle-of-view is still around 180 degrees on the diagonal – but the general usefulness of this dual-capability lens would definitely be increased. This is exactly the thinking behind the AF-S Fisheye Nikkor 8-15mm f3.5-4.5E ED, which zooms from circular fish-eye to rectangular fish-eye when used on…

Printer Type: A2+ format (17 inches wide) for photo-quality prints via a ten-colour pigmented inkset (but nine 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, 200 millilitres capacity. Epson UltraChrome HDX pigments. Colours are photo black, matte black, cyan, light cyan, vivid magenta, yellow, vivid light magenta, light black, orange, green and light black or violet. Smallest droplet size is 3.5 picolitres via ‘Variable Droplet Technology’. Paper Sizes: Borderless printing on cut sheets up to A2. Printer accepts paper rolls and has auto or manual paper cutter. Media width range is 203 to 432 millimetres, and maximum print length is 15 metres. Maximum media thickness handling is 1.5 millimetres. Borderless printing from 101x152…