REVIEW : Tamron 16mm-300mm f:/3.5-6.3 Di II VC PZD

This is the first of what I hope will be three different reviews of what photography writers like to call "The One Lens".  We're not speaking of something Tolkeinesque or the unicorn of lenses, we're speaking of the one lens that you would carry with you when you only wanted to carry your DSLR and one lens and have that lens be useful for pretty much everything.The lens I will start with is Tamron's new (second version) of their wide to long telephoto zoom.  This lens is designed for crop sensor cameras, having a sensor ratio of 1.5:1 or 1.6:1.  So your Nikon D5XXX, D7XXX and the like bodies and all Canon bodies from the 7D on down in price point. The focal length measurement on the box is as if this was a lens for full frame but it isn't so on a Nikon or Sony this is effectively a 24mm-450mm equivalent.  On a Canon, this is a 25.6mm-480mm equivalent.  And those are the mounts available.

The maximum aperture is a variable, for cost and weight reasons, starting at f:/3.5 at the widest angle, dropping to f:/5.0 when the barrel marker hits about 50mm and f:/6.3 after about 200mm on the barrel.  So in most cases, this is an outdoor lens (but more on challenging that later).  In order to get the shutter speed you want to have for crisp images (1/focal length in use is a good standard), you may find yourself pressing for higher ISO settings so be confident in your camera sensor's low light capability before embarking down this path.  Cameras with CCD sensors that tend to go south much past ISO 800 are not optimal platforms for a lens with this limited light gathering capability.

This lens is a twist zoom and when zoomed out to 16mm it is short and very compact and at f:/3.5 will suit well for travel photography, perhaps even inside museums.  Outdoors it will be terrific.  Zoom all the way in to 300mm and the lens becomes Gepettan, meaning it becomes a stunning twin to Pinochio's nose growing in length to nearly a foot long.  Thank goodness it stays nice and light.  There is a simple lock to lock the lens at 16mm to prevent zoom creep if carried facing down.

This second generation lens has improvements in the lens elements and also improved Vibration Compensation (VC), Tamron's nomenclature for stabilization.  The Sony mount has no in lens VC instead depending upon Sony's in body stabilization.

Construction is complex with 16 elements in 12 groups, expected in a lens of 18.8x zoom range.  This lens also does decent close up work (calling it macro is mcmarketing) at 1:2.9 ratios or about ⅓ life size.   This brings the close focus distance to 15.3 inches.  That's quite impressive in a lens that wound in is only 3.9 inches (99.5mm) long and weighs 19ozs (540g).  It takes 67mm filters and there are 7 aperture blades for those who get excited counting blades to try to guess what the bokeh will look like.  It comes with a flower petal bayonet mount plastic lens hood which is useful at 16mm and for the most part useless at 300mm.  This isn't Tamron's fault, it's the reality of a single lens hood for such a wide zoom range.

To keep things sharp, minimize distortion and manage colour fringing, the lens has both Low Dispersion and Aspheric lens elements.  Considering a Canadian street price of under $700, photographers who have been around for a while will smile wistfully remembering what aspheric element lenses used to cost.

The PZD stands for the new focus drive system powered by Piezo electronics.  This improves focus response over the prior version which while accurate has been characterized as achingly slow.

Testing

For my test, I shot this lens mounted on a Canon 7D.  Thanks to Chris Atkinson at Henry's Newmarket for help arranging the testing.  The whole kit including battery grip is very manageable and I can definitely see going on a vacation with just this lens on the camera.  I tend to overload when I travel and it gets out of hand very quickly so a one lens, one body kit with just a flash in my pocket would be very nice.

Please note that third party lens makers always have to make a helicoid rotation decision.  Tamron lenses rotate like Nikon lenses, so Canon users will have to get used to focusing "the other way" when on manual focus.

My first shots were acclimitization shots, so done with the ISO punched up to 6400 and shooting handheld in what can only be characterized as crappy indoor light.  Either I have gotten a lot steadier, or the VC really makes a difference.  I was handholding at 1/60 with the lens zoomed all the way in to 300mm and getting very sharp images with the aperture all the way open.

In my testing, I found some visible but not horrible barrel distortion at the wide settings, that is pretty much gone by the time you get to 28mm on the zoom range.  This distortion is correctable in Lightroom or Adobe Camera Raw using the Lens Corrections that are built in.  Pushing into the 300mm focal length there is pincushion distortion that is less evident unless you have straight lines at the edges.  It's not awful and is readily corrected in post-processing.   I found the contrast falloff at the wide angle range to be subtle but there, much less evident at 300mm.  Vignetting exists as well at 16mm but is correctable via lens correction in post.

When first unboxed, I found the zoom ring to be unpleasantly stiff.  Certainly no risk of lens creep.  As I have shot the lens for a few days now, it has loosened up to be much more usable and there's no indication of coming sloppiness.

Since the lenses I own are almost entirely Canon's L glass, I am accustomed to the weight and metal construction of the Canon lenses.  The Tamron, being a primarily plastic body is significantly lighter.  The lens elements are all glass though.  I try to be very careful with my lenses, but I would be concerned about the Tamron if it got bounced around.

Is this the magical unicorn of the one lens?  Have a look at the sample images and make up your own mind.  I liked it better than the Sigma 18-250 or Tamron's own 18-270.  Yes it is more money, but I think you are getting a fair bit more for your money here.   I much preferred it to Canon's 18-200 (despite multiple tests, it's just not that good) and it compares very favourably with Nikon's 18-300 DX lens.

Here we have a series of sharpness tests and a colour check.  These are JPEGs right from the RAW.

Overall, this is a really great piece of kit.  It has wonderful range at a fair price for the capability that it delivers.  If you are shooting Canon, I cannot think of a better choice.  If you are shooting Nikon, it is a strong alternate to Nikon's own 18-300.

REVIEW : Wacom Cintiq 13HD Drawing Tablet / Display

Some folks really struggle working with a Wacom tablet.  They find it difficult to relate the position of the pen on the tablet to the work that they want to do.  I have students who bought a tablet but gave up on it pretty quickly.  Sad because when you invest time, they can become indispensable.   A quicker route to success might be a tablet that is also a displayI bought the bigger Wacom display / tablet the first year it arrived.  I don't have the touch version and I'm absolutely ok with that.  Being able to tilt the screen at any angle and draw right on it for editing images, or when I think I can actually draw is nothing short of magical. As I am doing more tutoring and mentoring, I was thinking of something that would take up less space and still give me all the power of the big Cintiq.  Chris Atkinson at Henry's of Newmarket agreed to help me out.  He brought in the Cintiq 13HD for me to review and try, on the understanding that it had better not be coming back.  He has no worry on that score.

Findings

If you already use a Wacom tablet, the drivers you have probably work.  If you don't and you use a Mac, download the latest drivers from Wacom's site because the included CDs are basically useless to you.

I am using the Cintiq 13HD with a 15" Macbook Pro Retina so the connections were (mostly) straightforward.  The Cintiq needs a USB port AND an HDMI port.  My Macbook has the HDMI port but if yours doesn't you at least will need a display port or Thunderbolt port and a Thunderbolt to HDMI adapter.  This should be in the box frankly and that it isn't is cheap to the point of dumb.

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You will also need AC power.  Much is made of the portability of the Cintiq 13HD and it's true so long as AC is available.  It is, after all, a display.  The cable is a bit of an octopus having the HDMI and USB at one end, a tap for the power connection and a single connector at the Cintiq end that is reminiscent of Apple's old 30 pin connector.  The cable is about ¼" in diameter so it doesn't bend well and takes up space.

Wacom pen

Wacom includes their excellent pen in a nice presentation case along with an assortment of alternative nibs along with accent rings to personalize the pen.  The finish on this pen is nicer than on the pen for my other Cintiq or for the Intuos 5 tablet that the Cintiq replaces.

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The Cintiq has four soft buttons and a "rocker-wheel" with centre button on one side of the unit.  The screen is blessedly matte so not fraught with reflections like so many other displays.  Colour fidelity is very high, matching the colour corrected 23" Cinema Display I have nearly exactly out of the box.  I am having issues with the Color Munki Photo software with multiple displays with Mavericks and so have not yet promoted the Cintiq to primary, and done the reboot dance to see if the software can calibrate the display.  Hopefully some day XRite will manage to get their thumbs out and fix their software.

The buttons and wheels are all programmable through the Wacom preferences tool on the Mac, I can only presume that they have a similar offering for those running Windows.  I find them a bit less usable than on the Intuos or the bigger Cintiq.

Mass Moving

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The Cintiq 13 is designed to be lightweight and it is.  It comes with a cover/stand that has three different lean angles in addition to flat.  It does not slide around but it does tend to wobble a bit and it is more work than it should be to click the Cintiq into a specific lean angle.  I wish that this was more stable.

Usage

My testing involved using the Cintiq as a second display and as a working tablet.  It's a nice display but smaller than a usual desktop.  Screen resolutions are limited to 1080p, 720p and 1600x1200.  Default is 1080p which is nearly illegible for my eyes.  I've set mine to 1600x1200 and it's ok, 720p makes a Photoshop an exercise in moving around so that doesn't work for me.  I would prefer more resolution choices than are offered.

That stand is also quite annoying if you don't get the screen positioned just right, tending to fall over a lot.  The price of portability I guess.

As a tablet the Cintiq works very well.  I found it gritty at first but more use smooths the nib out and it now rides smoothly.  I got used to working on big displays so I have had to relearn zoom and move keystrokes in Photoshop to move around on images.  The big deal for me is the ability to engage the pressure sensitivity as a brush function and this worked flawlessly.  I was able to control filters and masks not just by drawing but also handle flow rate and such using just pen pressure.  Just like you should be able to do.

Summary

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Should you buy one?  Your use case will determine.  I did because the device fits my desired use case and because I was able to purchase mine during one of Wacom's irregular dealer rebate sales.  You have to look for those, but when they come you can usually save over $200 on the purchase of a Cintiq.   There are real downsides, including the big cable, the remembering to flip your display settings in your computer if you need the cable exiting the left side of the unit, and a high regular price.  Wacom also does these tablets that are also Android tablet computers, but at their regular selling price, I don't see them flying out of any stores soon.   On sale you can usually find a Cintiq 13HD for under $1000.  That is a lot more than a decent LED powered IPS LCD display and a Wacom Intuos 5 tablet, but there is a convenience and usability factor you just don't get any other way.

Addendum

Writer Steve Walker does and amazing job in his work on tablets of all types. Check out his work at https://tabletfeast.com

Review : The Profoto B1 500 AirTTL System

When I first saw the announcement of this system in late 2013,  I was really excited.  Consider the following;

• A fully self contained studio grade flash with 500ws output
• A fully self contained power source in the form of a Lithium Ion battery
• Complete remote control including power, modelling light and test from the hotshoe of my camera
• Full e-TTL II integration with my Canon DSLRs
• Full remote manual control to use with any other camera such as my Hasselblads or Leicas
• A light weight, highly portable flash head that only needs a stand
• Ability to use all of Profoto's light shaping modifiers

If all this sounds pretty cool to you too, read on to learn how it all worksI have not been a Profoto customer so far.  I own Bowens lights and Elinchrom lights and think that they are both great.  Bowens are built tough but are heavy and the battery system accessory is not inexpensive.  Elinchroms are lightweight, have a brilliant collapsing soft box system, include a wonderful remote that works without fail but the heads are mostly plastic and don't handle a beating all that well.  My Elinchroms for battery based use are a completely different set of lights, lightweight and convenient but needing adapters to use existing light modifiers.  None of the studio strobes I own or have used up until now have TTL flash support.

The other issue is that Profoto kit is expensive.  Like about double what its competition is except for the reflectors which are ridiculous money.  Profoto has a wonderful reputation for great light and great tools to be sure, but having witnessed Joe McNally make beautiful light with a match and a piece of cardboard I believe that beautiful light is as much talent as tech.

But to have really good TTL in a super powerful head that was portable and could use all kinds of modifiers, would be so nice wouldn't it?

With thanks, as usual, to Chris Atkinson of Henry's Newmarket, I have for a short evaluation period a B1 500 AirTTL light and Air Remote TTL-C controller.

Starting Up

Profoto B1

It seems that some organizations are overdoing the beautiful packaging thing.  I recently went through the unboxing of a Wacom Cintiq 13HD (review coming).  Took forever to get it properly unboxed.  Not so with Profoto.  Simple packaging without pounds of heavy black cardboard.  The light comes with all the necessary cables in what I would call a "gig bag" a soft well padded case with dividers to hold the light.  An immediate message that the thing is designed to be portable.  There's even a slot for the Air controller which is a separate purchase.

Profoto B1 Kit

The battery came with a minor charge in it.  The charger is the typical block AC thing with a power connector that plugs directly into the battery.  The battery is charged removed from the body of the unit.  It actually reminded me of the Hasselblad mode of addressing.  Probably a coincidence.  It took about an hour to bring the battery up to power.

I like well written manuals but I also like intuitive UI design so I can get to work without having to crack the manual.  Here's how it went.

1. Put the battery on charge
2. Put 2 AAA batteries in the Air Remote TTL-C
3. Put the B1 on a light stand with a boom
4. Put the Air Remote TTL-C on the 1Dx
5. Click the B1 battery into place
6. Turn the B1 on by holding the on button and waiting for it to cycle up
7. Turn on the Air Remote TTL-C and the 1Dx
8. Aim light at model
9. Shoot
10. BANG!  Perfect exposure, beautiful, if very direct light (unit comes with an integrated reflector/ diffuser but no light shapers)

Darn, everything should work this easily.

Looking Deeper

Air-Remote-TTL-C-front

The piece that really makes the kit special is the TTL support.  Currently the only option is the Air Remote TTL-C for Canon but I understand that a Nikon version is coming.  Both the flash head and the remote have USB ports so the firmware is updateable over time.  The unit has three groups via buttons on the front but I've heard rumours that future firmware will support more groups.

The energy buttons allow you to control Flash Exposure Compensation in TTL mode, and basic output power control when not in TTL mode.  Power control can be managed independently across Groups A, B and C.  There are multiple channels available for radio communication with a range of over 100m in TTL mode.  There is no documented limit to the number of heads per group.  Canon's unit says a maximum of 15 600 EX-RTs can be controlled from their offering.

This is sort of amusing since you would need nearly ten 600 EX-RT units to match the max output of a single B1 Air.

The Model button turns the LED modelling lamp on and off and the Head button allows you to control which head you are working with if needs be.

The remote feels comprehensive not like it will fly apart in a strong wind.  There's a sense of "pro" gear therein.  The display is nice and bright and easy to read.  I was also very pleased to discover that you can also make all your TTL group and FE comp settings from within the camera and they pass properly to the Remote Air TTL-C and then onto the head.  Yes, I know this shouldn't be a surprise, but let's say other TTL radio options (like oh say PocketWizard) have been far below expectation.  Some folks believe that the Remote Air TTL-C is overpriced.  It certainly carries the Profoto premium ticket price, but take a look at the cost of Canon's own ST-E3-RT, a good device but more of a pain than the Profoto and like the Profoto it is a proprietary and closed system.

I also very much appreciated that I could set the flash(es) to either 2nd curtain sync or High-speed sync right from the Air TTL-C.  Older reviews griped about the lack of HSS but I suppose the one I got had the newer firmware that added HSS support.  So in that vane, the unit is fully firmware upgradeable via USB.

Moving on to the B1 head itself, again you feel the quality when you pick it up.  Mounts are solid and lock up properly.  The battery clips in properly and securely.  The handgrip makes handling the head very easy.   The head comes with a protective cap that when removed reveals the diffuser cover over the flash tube.  This is the first strobe head I have every used with a basic integrated reflector and diffuser.  It feels more robust to me than an exposed tube and modelling lamp.

Profoto uses a rubber ring with a clamp lock for their light shaping tools.  Profoto tools are a lot more expensive than competitors.  One thing that makes them different is that the external reflectors come in what Profoto calls zoom capable.  This simply means that you slide the reflector mount to the degree coverage marker you desire on the barrel of the head.  This could mean you need to purchase fewer reflectors in the long run.  Profoto also uses their own mount on a speedring for soft boxes.  It looks (on the web) like everyone else's speedring, with the exception that you have more control over how deeply into the soft box the nose of the head goes.

Many photographers don't start with Profoto gear and so may have an investment in other vendors light modifiers.  I was not able to find an adapter to mount Bowens reflectors or speed rings on the Profoto.  Elinchrom makes a Profoto mount for their collapsible soft boxes, and also make a mount converter to accept Elinchrom reflectors etc on the front while mounting to the Profoto head.  I bought two of the Elinchrom to Profoto converters and they work just fine.  I already have a mount converter from Bowens to Elinchrom so I will try that on top of Elinchrom's converter.  It's not quite so elegant as a Profoto Beauty Disk or Magnum reflector but it costs considerably less than having to buy new Profoto light shapers.  It works.  It's not elegant and does change the angle of coverage slightly but it will do until I can justify Profoto branded light shapers

There are also numerous off shore light modifiers available with mounts to fit Profoto.  In checking a variety of sources, reviews are uniformly poor citing low quality, poor fit, no fit, unreliable locking and other problems.  The photographer who elects to go Profoto is best advised to sell off older kit if possible and replace it with the best he or she can afford.  I did purchase the Fotodiox Profoto adapter for Bowens speedrings.  It looks and is sized identically to the Bowens brand, and works just fine.  I was also pleased to discover that the same adapter can be used with my Lastolite Hot style softboxes for shoe mount flash.  Lastolite makes their own adapter but delivery was going to be a while and the price is ridiculously high.

Conclusion

The real question is "is this thing worth the price premium?"

When I first bought my Bowens, I did so because their light shapers were myriad, reasonably priced and their heads well built.  I quickly became frustrated by their poor remote control option which is infrared line of sight requiring a blood sacrifice with every use and that I had to pay a lot more to get radio remote.  Now of course, the PW cards are gone and Bowens offers their own proprietary radio control in most kits.  Still no remote power setting or similar useful features.  Because of this, and the absolute pain in the arse that setting up Bowens softboxes turned out to be, I went with Elinchrom BRX heads.  Very light and a wonderful radio control system.  But they don't handle abuse well and I am not nuts about the mounting system.  Still they became my go to heads.  And then I needed battery power.  So I bought a set of Elinchrom Ranger Quadras, partly because my flash mentor, the inestimable Joe McNally recommended them as lightweight, reliable and lots of pop for the dollar.  They work great, but you need to run cables from the power pack to the heads, and you need adapters to use regular Elinchrom light shapers.  Still, a great system, except for that wire issue.

None of these solutions brought TTL.  I still use a light meter.  Many folks don't because in truth you can get to decent in exposure in three or four test shots, but I like the idea of the light meter, except when the subject is moving in relation to the lights.  TTL, for me at least, has always been a good place to start, usually requiring a bit of flash exposure compensation but never really far off.  Hence the simple love affair with the Canon 600 EX-RT setup.  Light, transportable, TTL, lots of groups and independent control from the top of the camera.

Take the power of the Bowens heads, add the TTL capability of the Canon flash system, add the flexibility to use my existing Elinchrom and Bowens light shapers.  Eliminate cables completely.  Give me serious range.  Add second curtain sync and HSS to studio power strobes.   And control the whole thing from a robust legible controller on the top of the camera.  That's the Profoto B1 Air system.

Profoto B1 Location Kit

So the answer is yes.  The Profoto B1 Air system is absolutely worth the investment.  So much so that despite having many lights, I have purchased the Location kit that has two heads and the car charger in addition to the regular charger.  I've already put my first pair of Bowens 500 Pro heads with PW receivers up for sale.

First Look - Fujifilm X-T1

Fujifilm is really pressing hard on the mirror less space and continues to evolve their offerings into highly viable choices.  They've also moved from a "cosmetics" first approach and are really hitting their stride in serious evolutionary approaches.  The X-T1 is the latest in their stable (at time of writing) and is, in my opinion, a real game changer, not just because of the body, but because of the increased focus on high performance glass.   Thanks up front to supporter of The Photo Video Guy, Chris Atkinson of Henry's Newmarket, for making the X-T1 available for a couple of days for this review.  I could not do this without your support Chris.  Readers, please support Chris and his store by doing some shopping at Henry's in Newmarket Ontario.

I want to go over the features/functionality of the camera and then log my impressions of each one.

Electronic Viewfinder

The electronic viewfinder has a 2.3M dot OLED display.  It's bright and has the highest magnification factor of any display of this type at  0.77x.   There are two modes FULL and NORMAL and these are good names.  FULL shows you all the info, including stuff you normally would not care about and NORMAL shows you the information you would want to see in a viewfinder, if you were say, a photographer working to make an image.  Because it is an all electronic viewfinder, the image is not what is actually coming through the lens so when you rotate the camera to a vertical orientation, the viewfinder needs to rotate to show that to you.  It's an electronic rotation and takes a bit of getting used to.  One thing to be careful of is that the viewfinder is very bright and the colours are super "popping" and this could make you conclude that the scene is different from what it really is.

Auto Focus / Manual Focus  / Focus Aids

Fuji has made real strides in their AF performance.  When the X-Pro1 came out, folks loved the camera but hated the slow AF.  Same was true for the original X100.  Fuji listened and have continually improved their AF code.  The X-T1 uses a combination of phase detection and infrared focus modes to give fast and accurate AF in all lighting conditions.  In fact, they claim it is the fastest Hybrid AF on the planet.  For me, it's very usable and certainly quick enough for most all purposes.  One of the biggest black marks I used to make against Fujifilm is now erased.

For manual focus, the camera has what it calls Split mode and when I first saw this I thought it would be an emulation of the old split ring focus model.  It's not.  What it is are two separate images, one of which can use focus peaking to help you get your manual focus nailed in.  The real test is of course very low light as with any camera.

X-Trans CMOS II Sensor

Fuji's X-Trans Sensor really made life great and difficult at the same time.  It's a terrific sensor.  The layout is also proprietary so software support for the X-Trans layout has been slow to come and often not very good.   This meant that users would have to endure the really horrible Fuji software to do the RAW conversion.  Fuji now provides for in camera RAW conversion (to JPEG) but that's not the same as having Lightroom or Capture One or DXO Optics do the work for you.

The X-T1 sensor is an APS-C sensor (1.5x multiplier for those who care) and due to its unique design does not have an Optical Low Pass Filter (OLPF) also known as an anti-aliasing filter.  Usually the absence of these filters increases the risk of moire on CMOS sensors.  X-Trans is really good and so you get the increased sharpness that leaving out the OLPF brings you but without (in my tests) the sudden joy of dealing with moire in your images.

Lens Modulation Optimization

Apple will tell you that when you control the hardware and the software, more control is possible.  Fuji clearly buys into that.  Take their proprietary X-Trans sensor, add in Fuji's own excellent XF lenses and then bind them together with Fuji's unique EXR Processor II and now Fuji can digitally optimize for softness towards the edges that naturally happens as the aperture is made smaller.  You can turn the function off of course, if you aren't using XF lenses, but maybe you'll want to stick with this top end Fuji glass for this benefit.  I saw no downside to the feature and it's one more thing that will save you time in post processing or the need to get too aggressive with your sharpening tools

Low Light - High ISO

The X-T1 does what all the better products are doing today and that is making heretofore unconscionable ISO numbers both practical and effective.  My Canon 1Dx goes to 204,000, Nikon's Df is absolutely clean at 25,600 (why it is lovingly called the Lord of Darkness).  Fuji pushes the X-T1 to 51,800 and that's pretty impressive considering the high ISO gods are typically larger sensor critters.  Auto ISO will only go so high as 6400, but initial work shows the X-T1 to be solid to 12800 and still decent at 25600.  If the difference between getting the shot and not getting it is ISO 51800 then get the shot.  If the shot is worth it, no one will see the noise.

This is one of the most powerful shifts in the current generational change in digital cameras.  Just three years ago, the ceiling was 6400 but great work has been done to really extend the low light capability in sensors.  Fuji has done a nice job.

Auto Bracketing

Fuji makes a big deal of their auto-bracketing options.  You can auto bracket white balance, exposure, ISO, dynamic range, and film simulation.

I suppose I will sound like a gnarly old man, but so what?  I surely get exposure bracketing, love the idea, do it regularly and every camera does it or should.  The X-T1 does too.  Yay.  White balance auto bracketing doesn't matter to me because I am not a JPEG shooter, and because for serious work I throw a colour checker into an image so I can process the white balance properly after the fact.  Others may love this.  I am struggling with why anyone would want ISO bracketing, so will go with, well it's here so use it if you wish.  Still don't know why you would.  I will talk about my lack of enthusiasm for any kind of film simulation shortly so moving on quickly.  Dynamic Range bracketing grows from work done to do in camera dynamic range expansion.  This is a bit spooky since there is no way in a single image to extend dynamic range, so how it's done is to make three images and then blend them together based on luminosity sections.  As the inimitable Danny Partridge said (look it up) "if it walks like HDR, and it talks like HDR, it's probably HDR."  Actually he was talking about ducks but the point is the same.

Film Simulation

Like every Fuji camera, Fuji includes film simulation or "looks" and as one should expect, the looks are for venerable Fuji film stock.  I shot a lot of Fuji film stock back in the day and different offerings definitely had different looks.  Film simulation impacts the look of the JPEG on the rear LCD and of course the output if you shoot in JPEG.  If you shoot in RAW it has no effect and that's the way I want it.  Film simulation is one of those features that I personally couldn't care less about.

Construction and Layout

This feels like a real camera.  There's metal in here and plenty of it.  Construction is solid and robust and there is excellent weather sealing provided.  I watch RC Concepcion try to drown one of these things and it kept working.  That doesn't mean it goes in the pool or the ocean, but just because it's raining, it doesn't mean you have to stop making images.  The camera is rated to -10 degrees which I cannot thankfully test at this time.

The layout is like a real camera.  I understand that such a phrase could sound trite or arrogant but I like dials.  Apparently so does the target market for the camera.  It has a real aperture ring on the lens, a real shutter speed dial and a real ISO dial amongst other controls.  Having to dive into a menu to alter any element of the light gathering triangle makes my teeth hurt and just as I loved Olympus' work on the OM-D E-M1 in the layout space, I think that Fuji has done a terrific job here.

The X-T1 does have a menu system and like the older versions it's basically a continuous menu - submenu structure, meaning there is less hopping around than you might find in other vendor's archaic menu structures (hey Canon, I'm talking to you here, or goodness forbid Hasselblad).  I'm not nuts about it and still believe that every camera manufacturer needs to accept that they are not software UI geniuses and go hire someone who is to do these things, but the menus are not completely impenetrable and at least the text is legible and unlike, oh say, Olympus, isn't fraught with colour coding that only makes sense to the designer.

Special Functions

There are myriad special functions built into the camera including creative effect filters and panorama mode.  These are very useful for JPEG shooters, but like film simulation, less useful for the RAW shooter.

The X-T1 comes with a slip on micro flash with a GN of 20 so it's just bright enough to make the image from on camera flash have all the depth and joy of on camera flash, in other words, crap.  Much better news is that the X-T1 has an infrared commander mode option to control other Fuji flashes.  There aren't a whole lot of choices in this space, so my expectation is that most buyers will be shooting the camera in available light.   The camera does pleasing have an X sync port on the front covered by a classic screw cap, that is sure to be lost on first removal.  Loss notwithstanding, serious photographers wanting to use this camera with classic strobes will find this very handy.

Video

The X-T1 does the usual selection of video options up to 1080/60p.  Fuji, I think, understands who the buyer is and after stating that the camera does do video, moves on rapidly to other stills topics.  A series of short clips shot with the test unit look like the 1080 video from any other camera, albeit with the shallower depth of field that the lenses I had enabled.

The Glass

For my testing, Chris loaned me two lenses.  The 23/1.4 and the 56/1.2.  They have the look of a full frame 35mm and 85mm respectively.  The build quality is excellent, they feel solid and precise in the hand.  Both lenses are weather sealed as well so quite practical.  The 23mm has a push/pull focus ring to switch it between manual and autofocus.  When in manual focus mode there is an honest to goodness hyper focal distance scale!  The 56mm feels similar, but isn't.  If you want manual focus with this lens, you have to use the camera body switch to do so.   The camera documentation suggests that different lenses must be switched to manual in different ways.  Neither of these lenses feature image stabilization, which could be construed as odd for "pro" (Fuji's word) level lenses.

Shooting Experience

My initial test shots were done outdoors about 6pm so the sun was about 30 degrees in the sky, bright and cutting very harsh shadows.  I went for a walk into the woods to try for some flatter light with less heavy contrast.   The lenses are sharp, focus very quickly in AF mode, change relatively easily and come with decent hoods.  They accept standard 52mm filters but I did not have any mounted.  I was less enamoured with their manual focus.  They focus fine, but the focus ring has next to no tension to it so it feels sloppy.  Compare this feel to a true MF lens like a Zeiss or any one of my old Minolta Rokkors and they just don't feel all that precise.  The electronic aids like focus peaking are useful, but as I only used it briefly, I cannot say exactly how useful a shooter will find them.  I did not see the value as I do on my C300 or even the 7D with the Magic Lantern firmware.

My second pet peeve working with the lenses is that the A position, which enables Program or Shutter Speed preferred depending on other dial settings, is too easy to roll into or out of.  Frequently as I was dialling down for a smaller aperture, I would run right into the A mode.  This was frustrating requiring me to remove the camera from my eye to check.  There should be a lock or click stop or something.  A photographer less inclined to go to Aperture Preferred or Manual would likely not feel the same way as I do.

The body is wonderful from a fit and feel perspective.  It fits my hand well and while I did not get the extended battery grip for the test as I did for the OM-D E-M1, I am glad that one exists as I think I would want the extra power for a full day of shooting.  Your finger falls naturally on the shutter release and the camera holds well in one hand.  I particularly like that ISO, Shutter Speed and Exposure Compensation are proper dials.  Movies are started by the common flat red button and there are other programmable function buttons all over the camera with one on the top deck that is preprogrammed for WiFi.  Metering pattern is selected via a ring around the shutter speed dial and drive mode is selected via a ring around the ISO dial.  Acclimatization to this layout is very quick for an old manual shooter like myself and I really like the layout overall.  There is a button on the right side of the not a real pentaprism that determines whether the viewfinder is active, the LCD is active or the sensor detects your eye and automatically selects.  On the left side is a diopter control to set the viewfinder for your own eyesight.  For the first time, I can say that I liked an all electronic viewfinder without tweaking settings other than brightness.  I found the factory settings to be too bright on both the viewfinder and the LCD.  A bit of menu diving gets you to the settings to adjust these down.

I was very glad to have a real exposure compensation dial on the top right deck.  It is precise and easy to use with the camera to your eye, and with the EVF, you get exposure simulation so you get a very good idea of what the dialled in compensation is going to do.   I like this a lot when I am teaching as students "get" exposure compensation immediately when they see what it is going to do before the shot is made.

One thing Fuji loves is to program all manner of custom buttons.  It makes me nuts because nothing is labeled.  For example, the up/down/left/right rockers that you use to navigate menus have preprogrammed functions when you are shooting but there are no labels so it's a continuous lab experiment.  There are also two control wheels one front and one rear, and I'm going to have to crack the manual because so far I cannot figure out that they do anything regardless of mode.

The LCD is large and bright and will tilt a full 90 degrees.  I found myself using it like an old style waist finder and really liked that capability.  This would be a great way to shoot street scenes without making subjects uncomfortable.

If you want to do bracketing for out of camera HDR, getting there is easy, because it is a setting on the rotary switch around the ISO dial. You do have to use the menu system to select which type of bracketing you want, exposure, white balance, film sim, ISO, dynamic range, but this is a simple menu setting.  You cannot combine multiple bracket types.  The bracket options are ⅓, ½, and full stop increments.  I've written elsewhere that with the dynamic range in the sensors of 2014 bracketing increments of less than 1 stop are kind of pointless and it's disappointing that there is no larger increment option.  I find this lacking in a "pro" camera.  You only get three shots to a bracket, so Nikon shooters used to having up to 9 shots in a sequence are going to feel hard done by.  For my money, the small increment and limited bracket count is a mistake on Fuji's part.  HDR is very popular, and whether it is mostly ugly or not, Fuji should have paid more attention to exposure bracketing and less on goofy stuff like film simulation bracketing.  I would expect that the X-T1 buyer isn't spending all this money (my test kit was nearly $4K) just to put images up on Instapuke.

I tend to dislike multiple AF areas because I rarely find that the camera is selecting the most important focus point to me.  My usual route is to use only the centre point, lock focus and recompose.  This is not optimal on a tripod and I found that I was constantly going into the menu system to select where the focus point should be.  I could, and would, program a function button to get me here quickly but it is really annoying that so common a function would not be prepared out of the gate.

Processing the Files

Fortunately, Lightroom 5.5 has a RAW converter for Fuji's latest iteration of their RAF format RAW files.  I did not load the Fuji software this time.  My last experience with it was horrible and I was short on time.  Lightroom imported the files without issue but there are no lens profiles for the lenses that I was using so no corrections were available in automatic mode.  I also tried DXO Optics Elite 9 and it has nothing for Fuji either.

Images are sharp and clear, with good colour and decent dynamic range.  I could not get 10 zones but readily got 7.  Fuji's sensor layout is very different from the common Bayer layout so your histogram tends to show more separation of colours than with a Bayer sensor.  I did not encounter any moire in any of the outdoor shots.    Fuji has made their own glass for a very long time and the Fujinon lenses are well respected.  They still feature the EBC coating, that in the past stood for Electron Beam Coating.  Perhaps it still does.  Flare control is very good and I only got any serious flaring and contrast crashing with the sun high in the frame but still in frame.

Photo Mechanic 5 opens the files quickly for culling and represents the images similarly to Lightroom.  As I was shooting RAW, I am hoping that none of the film simulation crap was being applied, but it felt like I was shooting Fujicolor print film.  Everything is the tiniest bit green.

The X-T1 is a really nice camera, and I preferred it to the Sony A7.  Fit in the hand is better than the Sony and I was pleased to see the wider range of fast lenses compared to Sony who put out more bodies than they do glass.   The X-T1 is about the same size and weight as the OM-D E-M1.  The faster lenses and larger sensor give a much more full frame feel to depth of field and the lenses felt better in hand than the majority of the Olympus lenses except the most recent weather sealed zoom variant that I had with the E-M1.

Images are stored on an SD card, accessible from the right side (thank you!) so no need to remove grips or tripod plates etc.  The X-T1 has a new chipset so it can actually read and write the new UHS-II format cards at their maximum speed.  A nice thing, but not a deal breaker one way or the other.  The HDMI out is mini-HDMI and I liked that meaning I would not have to buy yet another HDMI cable if I wanted to push out to an HDMI display.

Working in the studio was quite pleasant.  I mounted an Arca plate to the base so I could use the camera on a RRS head and shot images of my patient model Sondra.  Lighting was very simple with a base level white board lit with a Westcott Spider-lite above and to the front.  Sondra's "skin" looks good to the eye but is typically white on camera and the Fuji is consistent there.  I used an Expo disc to make a custom white balance setting for this light and saw a real improvement, lending more credence to my suspicion that AWB in the X-T1 is a decent guess but not all too accurate.

When working in studio, I really like to tether my camera.  Like most every mirror less I have tried, this did not work with the X-T1.

Fuji's manual is not great.  Important sections are oversimplified and sections that are less relevant get too much attention.  I would guess that the manual was laid out by a product manager rather than an engineer because some functions show real bias (film simulation) where as others don't get proper attention.  This will be a case where a third party writer will do a much better job.  Fuji used to to do some very credible SLR and medium format cameras so it's not like they don't understand the important of good documentation.

I did however discover the uses of the front and rear rotary dials via the manual.  They are used to select effect filters and the like by default.  I would want to reprogram these to do something useful like allowing for shutter speed or aperture biasing in program mode.

Conclusions

Of all the Fujifilm mirror less cameras I have had opportunity to shoot, the X-T1 is my favourite by a long shot.  This is as much the camera layout and usability as the commitment that Fuji is making to higher quality and faster glass.  There are many things to like about the camera, and a few that are barriers to entry for my use cases.

Many folks looking at an X-T1 are looking to downsize from the larger and heavier DSLR kit while retaining prosumer level functionality.  From a size and weight perspective, the X-T1 definitely gets a B+.  It's not as small as other mirror less options but is well laid out for a serious photographer.  From a functionality perspective, I find the camera a bit too dumbed down in serious function and having too many trite low-end consumer style features that are close to the top of the UI.  For this I rate it a C.

I love the better glass and the bigger sensor.  All the outdoor shots were taken at ISO 800 and it's just great.  The reflected photo of myself was shot at ISO 3200 and is cropped and it is very good.  I like that there is a battery grip and that I can use real strobes with it.  I also like that it has a commander style mode, but would prefer to test this functionality under stress.

Overall exposure control is quite good.  Auto white balance needs a bit of work.  Both of the published shots of Sondra are using custom white balance achieved with the Expodisc.  Making a custom white balance is very easy with the X-T1 and I do find the default looks very "Fuji-ish" that is to say placing emphasis in the greens.

I would prefer that the filters and film simulation were capable of being disabled from general view.  I don't know that this makes me a purist, but as I never shoot by default in JPEG, these things just get in the way.

I would also like it better if Fuji made their RAW algorithms available to Adobe and others, along with lens profiles.  I have only found one lens that does not benefit in post by applying lens profile corrections and would do manual corrections on both the lenses I tested if I were shooting for a client.  I am still not convinced that Adobe's RAW converter in Lightroom 5.5 really masters what the X-Trans sensor is capturing.

I cannot say that I am blown away by the image quality.  It's excellent to be sure, but most everything from this class of camera is too.  It doesn't stand out or scream "better".

So the big question, if I were going to invest in an autofocus mirror less system, would I consider the X-T1.  I definitely would consider it.  Despite the smaller sensor, and slower glass, the OM-D E-M1 is still my preference, but the Fuji X-T1 has made such enormous inroads that right now it would be my #2.  This is a considerable step from the level of "never" that Fuji has lived on for some time based on my use cases.  If Fuji did an X-T2 that was more serious photographer oriented, the glass options would push it into first position.

If you are looking to move up from your consumer DSLR or move down to less weight, the Fujifilm X-T1 is an excellent contender.  It is well built, would be awesome for travel and there are really fine lenses available.  Bear in mind that it will not cost you any less than a similar DSLR.  It's an illusion that a competent mirror less will be less expensive than a similar DSLR.

First Look : Yong Nuo YN-E3-RT

I am a big fan of Canon's transition from infrared remote flash to using radio.  The 600 EX RT is a very powerful unit and by adding Canon's effective but pricey ST-E3-RT, you could control a bunch of 600s from the camera without using up a flash head on camera.  It works, but what if there were a more cost effective alternative?There is.  It is from Yong Nuo.  This company is a known quantity amongst hot shoe flash people.  Training master #Scott Kelby has advocated use of Yong Nuo flashes for some time.  I have clients who live by the Yong Nuo radio triggers because they deliver radio based TTL flash control without inducing a month of Kraft Dinner for meals.  They just work. Yong Nuo even announced their clone of the 600 EX RT although that remains scarcer than hen's teeth for the moment.  At the same time, they announced the YN-E3-RT.  It's their version of the ST-E3-RT and the big difference is investment.  The Canon offering is great, but pretty expensive.  The Yong Nuo does what the Canon does and is less than half the price.  Yes you will be likely ordering it from China.  Mine took about 10 days to arrive.

There are some pretty cool benefits to the YN-E3-RT over the Canon unit.  Most importantly for me, is that it adds infrared focus assist.  Canon had this in the ST-E2 unit that worked with the 580 EX series.  It was not a well loved offering but it did have IR focus assist.  When the E3 from Canon came out, serious flashers asked WTF?  We're often shooting in conditions where the lighting that brings on the need for flash also doesn't provide enough light for regular Autofocus.  By including focus assist in the YN-E3-RT, Yong Nuo demonstrates that they listen to buyers, something Canon frequently has a problem with.

If you use the Canon unit on cameras older than 2012, max flash sync speed is 1/125.  Not awful but not what the camera may be capable of.  The Yong Nuo eliminates that barrier.  It also means that if you have an older camera, you can get group support in the flash system a missing unless you have a newer product with Canon's offering.

The Yong Nuo also arrived with a bunch of sync cables, that I don't recall getting with my Canon unit, although I may have misplaced them.

From a construction perspective, the units look identical.  Canon allows for either green or orange display, the YN does green.  No biggie.  I found the buttons on the Canon more precise and with a nominally better fit but if I did not have the side by side comparative capability, I probably would not know.  The Yong Nuo unit has a USB port so you can update the firmware on it.  The port is in the same place as the sync cable port on the Canon.  The YN-E3-RT comes in a padded nylon case that is virtually indistinguishable from the Canon model.

Canon's unit sells for about $385 where I live.  The Yong Nuo cost me $140 through Amazon Canada.  Some have complained that the IR AF assist in the YN doesn't cover all the focus points.  True, but the Canon unit doesn't cover any since it has NO autofocus assist.

Judge for yourself.  The Yong Nuo solves a couple of legitimate issues for me with IR focus assist and no throttling of flash function on my older 1D Mk IV.  I'm pleased so far.

Power for you, power for them - introducing WakaWaka

We are all driven by the need for power for our electronic devices.  But what happens when you aren't near grid power?  Well my friends, there is power in the sky, and there are plenty of vendors who make solar power chargers, but how many of them also bring power to areas where the word "grid" has no meaning?That's what WakaWaka and the WakaWaka Foundation is all about.

The Waka Waka is a solar charged battery system.  It is small, in a real world tough casing, available in black or yellow.  12 hours of sunlight brings it to a full charge.  Not only can you charge your mobile device off it, (an iPhone 5s charges from dead to full in 2 hours) you can also use it for supplemental light from 5 to 75 lumens delivered by high efficiency LEDs.  At low power, the WakaWaka can generate light for 150 hours on a full charge.  It also has a convenient tilter holder.

Did I mention it's tough?

When John Charbonneau of Nadel Enterprises Inc. (Canadian Distributor) was showing me the device he was literally pounding the countertop with it.

About the WakaWaka Foundation

The idea here is to support folks living in areas of energy poverty, such as Haiti, Syria and Kenya.  The deal is pretty simple.  If you buy a WakaWaka power system, someone in a WakaWaka supported area gets their own power system.   They are working around the world already as you can see in this map.  Obviously the numbers are growing every day.

You can learn more about the WakaWaka Foundation at their website.

Now to really make a difference, you need to buy one.  At least.  You can certainly purchase the WakaWaka power system online through the website, but if you live in Canada, you can also get one at Henry's   At this spring's Exposure show, Nadel was showing off the WakaWaka and customers could purchase one from the onsite Henry's staff.  If you missed it, no problem.  The black one is SKU 586NAD001 and the yellow is 586NAD002 and either one is $99.99.

You need portable power and light, so do folks elsewhere in the world, so get your own WakaWaka and put one in the hands of someone who desperately needs power.

Finally! A point and shoot worth having - Sony RX100 III

Point and shoot cameras haven't made sense to me for a while.  I have an iPhone always with me and if I do my job it makes pretty decent images.  There are all manner of apps and stick on, clamp-on, bolt-on accessories for it.  I've even made decent sized prints from an iPhone image after work in the digital darkroom.  So why do I love this Sony? When the first iteration came out, the RX100, I arranged an evaluation with Henry's in Newmarket Ontario.  Sony's distinctly not P&S sensor, coupled with a good UI, excellent RAW performance and a stunningly good Intelligent Auto mode made for great images, quickly and in a nice small package.  It was pricey for a point and shoot, but if one was hunting image quality, it was the one to beat.   If only it had a viewfinder...

Then came the RX100II.  Faster CPU.  Still no viewfinder.  But it had a hotshoe, and the ability to add on a stupidly expensive optional electronic finder.  Why anyone would want a hot shoe on a tiny pocket camera was beyond me, as a flash of decent power would be three times the size of the camera.  Still a great sensor, great intelligent auto and good layout.  And a price increase.   Still missing a viewfinder.

Who's going to pay $800 for a point and shoot anyway?  Not the casual snapshotter.  This is a limited vertical market, for serious photographers who need something with great glass, great image quality, small size and a darn VIEWFINDER!

Third time is the charm.  The RX100 III that ships in June or maybe July hits the key indicators for me.  Faster Bionz X CPU.  20.2MP BSI-CMOS sensor.  Built in pop up EVF with 1.44M dots.  High performance video with clean HDMI out.  And of course the new lens.

What?  Did Sony replace the 28-100 2.8-4.9 Zeiss lens?

Yes they did.  The new lens is still from Zeiss and is a 24-70 equivalent f/1.8-f/2.8 variable aperture zoom.  Sony has given up some telephoto for more width and at least one stop faster optical performance.  Let's face it, 24-70 is a seriously popular range, loved by street and general look image makers.  The additional lens speed is very helpful and the new lens only increases the depth of the camera by about 3mm.

I have not had hands-on yet but I hope to as soon as one is available.  Initial first looks around the web are very positive.

Pricing is presently listing at $899.99, we'll see what the retailers do when it comes out.  I expect the initial street price to be high and then to see it level out about 60 days post release.

Specifications (courtesy Sony Canada)

Product Specifications

• Software

  • Operating System Compatibility : PlayMemories Home: Windows® XP SP3, Windows Vista® SP2, Windows®7 SP1, Windows®8 (PlayMemories Home is not Mac compatible); PlayMemories Online Uploader: Windows XP SP3, Windows Vista®SP2, Windows®7 SP1, Windows®8, Mac OS X (v10.5- v10.8); Image Data Converter Version 4.2: Windows® XP SP3,Windows Vista® SP2,Windows®7 SP1,Windows®8, Mac OS X (v10.5- v10.8)
  • Supplied Software : Supplied Software: PlayMemories™ Home, Image Data Converter Version 4 (via software download from camera)

• Advanced Features

  • Image Stabilization : [Still Image] Optical [Movie] Active Mode, Optical type with electronic compensation (Anti-rolling)
  • Auto High Dynamic Range : Yes, (Auto Exposure Difference, Exposure difference Level (1-6 EV at 1.0 EV step), off)
  • Sweep Panorama : Horizontal (Wide/Standard), Vertical (Wide/Standard)
  • Face Detection : On, Off, Face Registration, Face Selection; maximum eight faces detected
  • Priority Setting (for Face Detection) : Yes (eight faces max) New Registration / Order Exchanging / Delete / Delete All
  • Smile Shutter™ technology : Smile shutter (selectable from 3 steps)

• Camera

  • Camera Type : Cyber-shot® Digital Still Camera
  • Lens Compatibility : Fixed lens

• • Colour : Black

• Convenience Features

  • Media/Battery Indicator : Yes
  • View & Index : Single (with or without shooting information), RGB histogram and highlight/shadow warning, 4/9-frame index view, Enlarged display mode (L: 13.6x, M: 9.9x, S: 6.8x), Auto Review (10/5/2 sec, Off), Image orientation (On/Off), Slideshow, Panorama scrolling, Folder selection (still), Forward/Rewind (movie), Delete, Protect

• Drive System

  • Continuous Shooting Speed : 10 fps at 20.2MP
  • Burst Buffer : JPEG Standard (12 shots) JPEG Fine (12 shots) RAW (13 shots) RAW+JPEG (10 shots)
  • Shutter Speeds : iAuto (4 - 1/2000) / Program Auto (1 - 1/2000) / Manual (Bulb, 30 - 1/2000) / Aperture Priority (8 - 1/2000) / Shutter Priority (30 - 1/2000)
  • Self-timer : 10 sec. / 2 sec. / Self-portrait One-person/ Self-portrait Two-person/ Self timer Continuous (3 or 5 shots)
  • Drive Mode : Single-shot, Continuous, Speed Priority Continuous, Self-timer (10/2 sec. delay), Self-timer (Cont.), Self-portrait One-person, Self-portrait Two-person, (with 10 sec. delay; 3/5 exposures), Bracketing

• Exposure System

  • D-Range Optimizer : Off, Dynamic Range Optimizer (Auto/Level 1-5), Auto High Dynamic Range: Off, Auto Exposure Difference, Exposure difference Level (1.0-6.0EV, 1.0EV step)
  • Auto Exposure Lock : Yes (AE Lock button). Can be disabled from menu
  • Exposure Compensation : +/- 3.0 EV, 1/3 EV step
  • Minimum Illumination : Movie: Auto:1.2lux(Shutter Speed 1/30")
  • Picture Effect(s) : [Still Image] Toy Camera, Pop Color, Posterization, Retro Photo, Soft High- key, Partial Color, High Contrast Monochrome, Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolor, Illustration [Movie] Toy Camera, Pop Color, Posterization, Retro Photo, Soft High-key, Partial Color, High Contrast Monochrome
  • Exposure Settings : [Still] Superior Auto, Intelligent Auto, Program Auto (Program shift available), Shutter Priority, Aperture Priority, Manual, Scene Selection, Movie, Sweep Panorama [Movie] Program Auto, Aperture Priority, Shutter Priority, Manual
  • Scene Mode(s) : Anti Motion Blur, Fireworks, Gourmet, Handheld Twilight, High Sensitivity, Landscape, Macro, Night Portrait, Night Scene, Pet Mode, Portrait, Sports Action, Sunset
  • Metering Modes : Multi-segment, Center-weighted, Spot
  • Metering Sensitivity : EV 0 to 20 (at ISO100 equivalent)
  • ISO : Auto(ISO125-12800, selectable with upper / lower limit),125/160/200/250/320/400/500/640/800/1000/1250/1600/2000/2500/3200/4000/5000/6400/8000/10000/12800 (Extendableto ISO80/100),Multi-Frame NR:Auto(ISO125-12800), 200/400/800/1600/3200/6400/12800/25600
  • Creative Style : Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia, Style Box
  • Color Temperature : 2500 – 9900K with 15-step each Magenta/Green compensation (G7 to M7), Amber/Blue (A7 to B7), Custom
  • ISO Sensitivity (Movie) : Auto:(ISO125Level-ISO12800Level, selectable with upper / lower limit), 125/160/200/250/320/400/500/640/800/1000/1250/1600/2000/2500/3200/4000/5000/6400/8000/10000/12800
  • White Balance Mode : Auto / Daylight / Shade / Cloudy / Incandescent / Fluor (Warm White) / Fluor (Cool White) / Fluor (Day White) / Fluor (Daylight) / Flash / C. Temp., Filter / Custom
  • Exposure Bracketing : 3 continuous or single shots in 1/3 or 2/3 EV steps
  • WB Shift : G7-M7,A7-B7

• Flash

  • Flash Bracketing : ±2.0 EV
  • Flash Metering System : Pre-flash TTL
  • Flash Compensation : ±2.0 EV (switchable between 1/3 EV steps)
  • Recycling Time : Approx. 3.4 sec.
  • Flash Modes : Auto / Fill-flash / Slow Sync / Rear Sync / Off
  • Flash Coverage : ISO Auto: 1’ to 49’ 2” (0.30m to 15.0m) (W) / 1’ 9” – 18’ 8” (0.55m to 5.7m) (T) ISO 12800: Up to 98’ 5” (30.0m) (W) / 37’ (11.3m) (T)
  • Flash Type : Built-in, Pop-up Auto

• Focus Control

  • Focus Features : Predictive control (AF-A, AF-C), Focus Lock
  • AF Illuminator : Built-in LED, Range: approx. 3' 4” - 9' 9” (0.3m-3.0m)
  • Focus Sensitivity : EV 0 to 20 EV (at ISO100 equivalent)
  • Focus Area : Multi point AF (25 points) / Continuous AF / Single Shot AF / Flexible spot (S/M/L) / Lock on AF (Wide/Center/Flexible Spot (S/M/L))
  • Focus Points : 25 points
  • AF Modes : Single-shot AF (AF-S) / Continuous AF (AF-C) / Direct Manual Focus (DMF) / Manual Focus
  • Focus System : Contrast-detect AF

• Imaging Sensor

  • Pixel Gross : 20.9M pixels (approx.)
  • Focal Length Conversion Factor : 2.7x
  • Color Filter System : RGB primary color filters
  • Effective Picture Resolution : 20.1M pixels (approx.)
  • Imaging Sensor : Exmor® R 1.0” CMOS sensor (13.2 X 8.8mm) (3:2 aspect ratio)
  • Processor : BIONZ® X image processor

• Interface

  • NFC : Yes (NFC Forum Type 3 Tag compatible, One-touch remote, One-touch sharing)
  • DC IN : Yes, via AC-UB10 AC charger and USB cable
  • Memory Card Slot : Dual compatibility slot: Memory Stick PRO Duo™/Pro-HG Duo™/PRO-HG HX Duo™ media - SD, SDHC and SDXC memory card
  • HD Output : HDMI® (Type D micro)
  • Wi-Fi : Yes
  • Accessory Shoe : Multi Interface Shoe
  • Tripod Mount : Yes (1/4" diameter, 20 threads per inch)
  • Remote Commander : Yes, via RM-VPR1
  • PhotoTV HD : Yes, with BRAVIA Sync enabled HDTV and HDMI® cable
  • USB Port(s) : USB 2.0 Hi-speed (mass-storage, MTP)
  • BRAVIA® Sync™ : Yes, via HDMI® with compatible BRAVIA HDTV (link menu)
  • Microphone Input : Via MI Shoe + Optional ECM-XYST1M

• LCD Display

  • Peaking : Yes Level setting: High/Mid/Low/Off Color: White/Red/Yellow
  • Real-time image adjustment display : Yes (On/Off)
  • LCD Type : 3.0” (7.5cm) (4:3) / 1,229,000 dots / Xtra Fine / TFT LCD / Tiltable (Up by approx. 180degrees, down by approx. 45degrees.)
  • Coverage : 100% Field of View
  • Angle Adjustment : Tilt angle: Up by approx. 180degrees, down by approx. 45degrees
  • Histogram : Yes (On/off)
  • Live View : Continuous Live View
  • Brightness Control : Auto / Manual(5 steps) / Sunny Weather
  • Grid Display : Yes (Rule of Thirds, 4x6 Square, Diagonal & 4x6 Square Grids, Off)
  • Customization : Grid, Histogram display, Digital Level Gauge, Grid Line, Magnified display for playback

• Optics/Lens

  • Optical Zoom : 2.9x (Optical Zoom during movie recording)
  • Minimum Focus Distance : iAuto: AF (W: Approx. 5cm (0.17 ft.) to Infinity, T: Approx. 30cm (0.99 ft.) to Infinity) / Program Auto: AF (W: Approx. 5cm (0.17 ft.) to Infinity, T: Approx.30cm (0.99 ft.) to Infinity)
  • Lens Type : Carl Zeiss® Vario-Sonnar T*
  • Aperture (Max.) : F1.8(W)-2.8(T)
  • Aperture : F1.8 - 11 (W), F2.8 - 11 (T)
  • Aspheric Elements : 9 aspheric elements including AA lens
  • Aperture Blade : Iris diaphragm (7 blades)
  • Digital Zoom : Still image: 20M Approx.11x / 10M 16x / 5M 23x / VGA 44x; Movie: Approx.11x
  • Lens Construction : 10 elements in 9 groups (9 aspheric elements including AA lens)
  • Steady Shot Mode:Active : [Still image] Optical [Movie] Active Mode, Optical type with electronic compensation (Anti-rolling)
  • ND Filter : Auto / On(3 steps) / Off
  • Clear Image Zoom : Still Image: 20M Approx. 5.8x / 10M 8.2x / 5M 11x / VGA Approx. 44x; Movie: Approx. 5.8x
  • Focal Length (35mm equivalent) : [Still Image 3:2] f=24-70mm [Still Image 16:9] f=26-76mm [Still Image 4:3] f=25-73mm [Still Image 1:1] f=30.5-89mm [Movie 16:9] f=25.5-74mm (SteadyShot Standard), f=30-86mm (SteadyShot® Active Mode), f=33.5-95mm(SteadyShot Intelligent Active) [Movie 4:3] f=31-90mm (SteadyShot® Standard), f=37-105mm (SteadyShot Active Mode), f=41-117mm (SteadyShot InteligentActive)

• Power

  • Battery Type : InfoLITHIUM® NP-BX1 (3.6V)
  • Power Requirements : AC 100V to 240V, 50/60 Hz, 70mA
  • Power Consumption (in Operation) : Approx. 1.8W
  • Number of Still Images : Approx. 320 images with LCD monitor (CIPA standard)
  • Battery Capacity : 4.5Wh (1240mAh)

• Recording

  • Panorama Still Image Size : Wide (12,416×1,856/5,536×2,160), Standard(8,192×1,856/3,872×2,160)
  • Audio Format : XAVC S: LPCM 2ch; AVCHD:Dolby Digital(AC-3) 2ch(Dolby Digital Stereo Creator); MP4:M PEG-4 AAC-LC 2ch
  • Video Format : XAVC S / AVCHD Ver. 2.0 / MP4 (MPEG-4 AVC (H.264))
  • Video Mode : XAVC S: 60p 50M(1,920x1,080/60p) / 30p 50M(1,920x1,080/30p) / 24p 50M(1,920x1,080/24p) / 120p 50M(1,280x720/120p) AVCHD: 28M PS(1,920x1,080/60p) / 24M FX(1,920x1,080/60i) / 17M FH(1,920x1,080/60i) / 24M FX(1,920x1,080/24p) / 17M FH(1,920x1,080/24p) MP4: 12M(1,440x1,080/30fps) / 3M VGA(640x480/30fps)
  • Color Space : sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS™ Color
  • Still Image Size 16:9 : L:17M(5,472×3,080) / M: 7.5M(3,648×2,056) / S: 4.2M(2,720×1,528)
  • Still Image Size 3:2 : L: 20M(5,472×3,648) / M: 10M(3,888×2,592) / S: 5M(2,736×1,824)
  • Still Image Mode : JPEG (Standard, Fine), RAW, RAW+JPEG
  • Media Type : SD, SDHC and SDXC memory card; Memory Stick PRO Duo™/Pro-HG Duo™ media
  • Still Image Max Effective Resolution : 20.1 Megapixels
  • Still Image Size 4:3 : L: 18M(4,864×3,648) / M: 10M(3,648×2,736) / S: 5M(2,592×1,944)
  • Video Signal : NTSC color, EIA standards
  • Microphone/Speaker : Built-in Stereo Microphone / Mono Speaker
  • Still Image Size 1:1 : L: 13M(3,648×3,648) / M: 6.5M(2,544×2,544) / S: 3.7M(1,920×1,920)
  • Mic Level Control : 16 steps
  • Still Image File Format : JPEG (DCF Ver. 2.0, Exif Ver.2.3, MPF Baseline compliant), RAW (Sony ARW 2.3 format)
  • Wind Noise Reduction : Yes (On/Off)

• Service and Warranty Information

  • Limited Warranty Term : 1 Year Parts & Labor

• Viewfinder

  • Type : 0.39" SVGA electronic viewfinder(OLED), 1,440,000dots
  • Magnification : Approx. 0.59x with 50mm lens at infinity, -1m1(diopter) (35mm equiv.)
  • Diopter Adjustment : -4.0 to +3.0m-1

• Weights and Measurements

  • Weight(Approx) (Main unit only) : 9.3 oz. (263 g)
  • Dimensions (Approx.) : 4 " × 2 3/8 " × 1 5/8 " (101.6x58.1x41.0 mm) excluding protrusions
  • Weight (Approx.) : With battery and Memory Stick PRO Duo Approx.10.2 oz. (290 g)

REVIEW : The Phantom II Vision

Drone helicopters with cameras are the "in" thing, so when Chris Atkinson of Henry's Newmarket asked if I would like to do an evaluation and review of the Phantom II Vision, I jumped at the chance. It's Wicked Cool

Overview

So what is a Phantom II Vision?  It is a four rotor radio controlled helicopter with an attached servo driven camera.

The four rotor system with two pairs of rotors spinning in opposite directions to each other makes for a very stable "rotating wing" architecture.  Traditional dual rotor helicopters are difficult to fly well, whereas the four rotor or "quadcopter" design can be flown by those who are not pilots or without days of practice and multiple crashes.  Radio controlled means you fly it wirelessly via a pair of joysticks.  I will refrain from joystick competency jokes here, suffice to say that the joysticks are not overly sensitive but also that they have real linear control, not just full on and full off.  Have a servo driven camera means you can control the camera tilt and operation remotely, in this case from an IOS or Android based mobile device over a closed WiFi network.

There are kid's quadcopters you can purchase that you can fly in the house.  The Phantom II Vision is not one of them.  With rotor guards installed it's about 18 inches diagonally and it moves fast, so unless you want a busted copter or busted home furnishings, this is an outdoor only tool.

What's in the Kit

When you open the box, there is a black container holding Quick Start cards that are very easy to understand.  Things that can fly, can also fall out of the sky, so READ the fine manual before you get started.  As you unbox, you will find the quadcopter itself, and four sets of rotors.  The Phantom II only uses two sets of rotors so the inclusion of the second set is recognition that buyers may not read the documentation fully and will break rotors.  The rotors are designed to break on impact so people, pets and other things don't get ruined by spinning blades.  You will also find a very sizeable battery, an international charger, the radio controller, a Range Extender, a mount for your smartphone and assorted cables and screws.  The documentation is very clear and easy to understand, but you do have to read it to set the Phantom II up properly.  The documentation varies on whether or not a Micro SD card is present.  The main docs say nothing but others say that there is a 4GB card in the box with the quadcopter.  Mine was already installed in the camera body.

Getting It Together

Follow the instructions.  Seriously.  There are two pairs of blades, one pair with a black cone and one pair with a silver cone that the docs refer to as black and grey.  The black coned blades go on the black tipped motors and the silver coned blades go on the grey tipped motors.  They screw on and are self tightening due to the thread direction.  It's a simple and very smart system.

While you are reading and building, charge the main battery.  Out of the box it showed two bars and it took a couple of hours to bring it to four bars.  Fifteen minutes of flying knocked it back to two bars.  The Range Extender is not an optional thing, so the name could be a bit of a misnomer.  This is one place where the kit gaps a bit.  The only way to charge the Range Extender is via USB so you will need a powered USB outlet to charge this unit.  I plugged it into the computer USB port and it charged up fine.

You will need to mount the Range Extender to the frame of the transmitting radio, and also mount the smartphone holder to the frame as well.  The kit includes a reversible slot/Philips head screwdriver as well as numerous well labeled screw bags.

If you do add the optional rotor guards, and you REALLY should, unless you want to be replacing blades a lot if you have a bad landing, and you likely will, you will need a metric Allen key set to remove some existing screws and replace them with the longer screws that came with the rotor guards.  My kit did not have the Allen key, which is a buyer gap, but perhaps being a demo it was missing.  Fortunately, I have multiple Allen key sets in the house as I keep misplacing them so this was not an issue.

Installing the memory card is pretty straight forward.  Push the card into the slot until it latches.  You have to press into the little depression that's provided to seat the card properly.  Press again and it will pop out enough to remove.  Note that the slot is in the back of the camera and while the edges are white, the slot itself is black and I started to put a card in, when one was already installed, so look closely in brighter light if you are not sure.

You will also want to head over to the DJI website and pull down the latest user's manual, software for your computer and check your system firmware.  This is the same as one would do for any other camera.  There are versions of software to run on both Windows and Mac OS X.

The Camera

This is one of the really great things about the Phantom II Vision.  There are lots of quadcopters out there but most of them require that you own a POV camera or buy one at the same time and then figure out how to mount it up.  The camera on the quadcopter is on a tilting mount and can be controlled by your smartphone via a free app over the quadcopters unique WiFi SSID.  Documentation is a bit skint but it is quick enough to figure out.  Being able to change the tilt at 150 feet up is really very cool.  The lens is not dissimilar to the ultra wide pseudo fisheye we see in the GoPro.  Edges bend, it's part of the charm, and there is no zoom in capability so you won't be using this as your own NSA spy drone.  Having the camera built into the unit and remote controllable in the mount is a real win for folks in general and definitely a win for those people who don't want to spend a lot of time futzing around.

The camera is designed for video first of course, but does 14MP stills in addition to a variety of video resolutions.  I was pleased to see three quality levels for JPEG as well as the ability to capture in RAW DNG format.  Adobe already has a lens profile for the Phantom Vision II that corrects for the bends caused by the near fisheye lens.

The Phantom II also has integrated shock mounts between the body and the camera.  This really helps reduce the jello effect a rigid mount camera will experience.  I was surprised by the high quality of the video considering I had done nothing at all from a stabilization point of view.

There is an optional adapter that allows you to attach 46mm screw on filters if you wish to do so.

Flying the Phantom II Vision

The documentation is decent, although somewhat incomplete when it comes to flying the Phantom II.  You get enough information to put the unit into the air and get it back on the ground, but beyond that, you're pretty much on your own.

I would strongly emphasis the impact of the wind conditions on whether you fly or not.  The Phantom II is very lightweight.  Despite a smooth body and the advantage of four rotors, wind will still impact the quadcopter.  If you put it up on a day with much more than 3km an hour wind, you will have to be compensating for wind drift.  The controller does not have trim controls to allow you to set a compensation for the wind, so watching what you are doing and where the quadcopter is going is very important.

The left joystick controls altitude with forward for up and backward for down.  Moving the stick left or right rotates the craft on its axis.  The right joystick controls flight direction.  Move it up for forward, back for backward, right to slide right and left to slide left.

Once on the ground, you move both sticks to the inside bottom position to shutdown the rotors.  Obviously, one should not shut down the rotors until the quadcopter is landed safely unless you want to see what a brick falling out of the sky looks like.

The cool thing about the built-in GPS is that when you fly the copter, it uses the GPS to maintain its position when you aren't touching the joysticks.  Wind is hard to fly in with regular copters and while I did find the wind today had visible effect, I never lost control and the copter never got blown way off its hover.  I have a regular RC helicopter that gets blown all over the sky by the slightest breeze, the Phantom II is incredibly stable.

The second day I was out flying, I met a fellow who had a Blade quad copter.  He noted that he had lost it due to a flyaway and other owners blame this on interference because many of these crafts use the popular and overcrowded 2.4GHz band.  The Phantom II uses the 5.8GHz band which is much less crowded and less prone to interference.

Communications distance is rated at 300m.  If the Phantom II loses communication for a period of time, it enters failsafe mode.  If it has a GPS lock (6 satellites) it initiates a Return Home profile that flies it back to it's takeoff point.  Remember it doesn't know about buildings, poles, hydro wires so this reminds you to fly your unit in an unobstructed area.  If the copter cannot maintain a GPS lock it initiates a safe descent mode.  Hopefully that's not out over water, or a highway.

As you'll see from the images, the Phantom II is white.  It does have indicator LEDs, but after some distance they become hard to see.  When I was flying the unit the day I wrote this paragraph it was heavy white overcast and I lost the copter in the sky more than once.  Looking down from the camera view, I saw a vast field of white snow and ice, not a ton of help but with a slow rotation, I got my bearings and used the pseudo radar on the app to fly the copter back into view.

I mentioned in the overview that the Phantom II is really an outdoor only craft.  If you push the throttle to the stops, the craft will max out at about 35 m/s, which means it's out of range in less than 10 seconds.  Altitude increases max out at 10m/s, down is much faster given the helping hand of gravity.

Lifting off is very easy and the general flying does not take long to get the hang of.  DJI includes a Pilot's Handbook that coaches you through flight manoeuvres to build skill.  Even landing is not hard, but I strongly encourage you to learn to flare the copter out about a foot up and then gently lower it to the ground by pulling back on the altitude stick.  Once done, hold the stick all the way back for about 3s to shut down the motors.

DJI claims about 25 minutes flight time on a full charge and my own tests support their numbers.  On my last day of testing, it was -12 Celsius and my iPhone shut down from the cold before the Phantom II did.

Here's a quick video showing what the footage from the camera looks like.  It was shot at 1080p30 on a very blustery day.  There's a fair bit of bouncing around happening, but it's impressive at how stable the Phantom II remained even when being buffeted by winds double the maximum recommended 5 km/hr.

The Remote App

The application that let's you see through the camera lens from the ground and also take stills and video runs on either IOS or Android.  It connects via WiFi to the Phantom II itself. There is no security on this network, so ostensibly, someone else with the app could try to connect to the quadcopter, although I think it is limited to a single connection.

Once connected you get a reminder overlay of what the controls do.  Unlike other quadcopters, you do not fly the copter from your smartphone, you only control the camera.  Since the camera is servo mounted, this is more useful that it may seem, plus the joysticks give more granular control of the craft instead of using the accelerometer built in to your smartphone.

On IOS, the sliders are really up and down buttons, a tap per change, rather than a continuous sliding scale. This is not a big deal since you don't want to constantly be sending instructions over WiFi outdoors if you would like any kind of reasonable control time.  For me, this is the biggest drawback.  I started my first test with over 40% battery in my iPhone 5 and after 15 minutes or so, it shutdown.  Now it was darn cold on that day, and I failed to shutdown other applications that were running in the background but the app seemed to be very demanding of power on my iPhone even though it is not doing all that much.

In addition to the stepped tilt control, you can put the quadcopter camera into a mode where the pitch and yaw of your smartphone causes the camera to tilt and rotate to match  your actions.  This is cool, but I think I would need a lot more video game skill to be able to do this, fly the copter and not crash into anything all at once.

You can use the app to download your stills and video from the Micro SD card to your smartphone but speedy it isn't and it does eat up battery on both sides.  Better to pull the card out and load the files into your computer using a card reader.

You can make all your settings for the camera in the app itself.  There are controls for video quality, still quality, ISO, White Balance and the like.

Plainly the camera is there for video first.  Shooting at 1080p30 produces really excellent video, and you can run it all the way up to 1080i60 if you think you will be doing any slow-motion work in your edit.

The major downside of using your smartphone is that the screen gets washed out in the sunlight.  The first day was bright harsh sun and it wasn't bad.  The second day was heavy overcast and the screen was nearly unusable.  You might need to make a cardboard hood to ensure that you can see your phone.

The app also provides you with a near real-time view from the camera, as well as distance, battery charge, artificial horizon and pseudo radar that indicates the position of the controller and the quadcopter.

Conclusions

The Phantom II Vision kit retails for $1,319.99 with pretty much everything you need to go.  Considering that there is a really good POV camera in the kit that is remotely controllable, this is a pretty decent value as plain old quadcopters sell in the $800 range.

Of course I would suggest some accessories.   You are going to want to get a car charger since you likely won't be flying this in your back yard.  You may even want a spare battery. And while the camera comes with two spare pairs of blades, you definitely want to order a couple of extra pair of each, and I cannot recommend the blade guards strongly enough.  If your touchdown point will be asphalt you might want to order up a spare set of landing gear.  The gear is lightweight and a bit springy by design and a bad landing on hard ground could break it.  There are extra shock mounts in the box for the camera mount, and you can buy more if needed.

I really like the Phantom II Vision.  I know I could get a plain old Phantom II and a gimbal mount kit to use my existing GoPro with the quadcopter, but this is just so simple and straightforward and I don't have to worry about different vendor apps and interoperability and other concerns.

DJI also has a pretty decent user community, and there are already kits out to bring a Phantom I up to spec and I've seen some third party mods on radio controllers and such.  A strong community behind a product like this is critical and the DJI family is already proven.  More to the point, they also do pro-grade aerial cameras, so the expertise developed in this space naturally flows down to the consumer Phantom II Vision.

If you love the idea of flying your own POV camera, with minimum hassle on an easy to fly platform, the Phantom II Vision is the choice for you.  Thanks again to Chris Atkinson at Henry's for the opportunity to use a unit for this review.  You can see the Phantom online at Henry's here.

REVIEW : The Olympus OM-D E-M1

On New Year's Day 2013 I did a short review of the then new OM-D E-M5 and to paraphrase a pop song, I liked it.  When Olympus announced the advent of the E-M1, a more professional and feature rich option, I was interested and with great thanks to Chris Atkinson of Henry's Newmarket, I have now completed my review of the camera and a variety of lenses for it.  How did it fare?  Read on gentle friends, read on....There's no doubt that the advent of mirror less cameras has been massively successful.  Except in North America where the numbers are upside down compared to the rest of the world.  I don't know why this is, but it is and the mirror less explosion has not happened on this continent.  Yet.  The OM-D E-M1 could be the first camera to really tip the scales. What Do People Have Against Mirrorless?

When I talk to other photographers about their next camera, invariably they tell me it will be a DSLR.  When I ask why it comes down to a few consistent reasons.  Let's explore them and get them out of the way.

• Choice of Lenses - Major line DSLR providers have lots of lenses to choose from, and this is augmented by third parties.  And despite significant enhancements in high ISO performance, fast lenses are still in demand.  So to are fast primes, even moreso than faster zooms lenses.  There's a strong perception that mirror less doesn't have the lens choice yet.  This is true in general but when you look at the lenses I assembled for the review, the only thing missing are the monster fast long lenses and the super fast primes.  You may be ok without them, depending upon your work.
• Has a Viewfinder - Many folks who have looked at mirror less as an alternative to DSLR cameras cite the lack of an eye level viewfinder as a major stop sign.  Or there is a very significant added cost to include a clip on EVF.  This is a partially valid argument, although I would say that today's top line mirror less cameras all have very good viewfinders to supplement the rear LCD panel.
• Looks like a more Professional Camera - Ok, how do you argue with subjective assertions.    If the camera is a tool of the artist, who cares what it looks like, but I confess that if I am shooting somewhere with the Hasselblad or I've dragged the Sinar somewhere into the field, I am given space by other photographers because I must therefore be a more professional photographer.  I also have found the opposite is true.  I street shoot with the Leica because it doesn't look like a big pro camera and is therefore less intimidating.
• I Want High Quality Images - this is a plain error since in many cases the sensor in a mirror less is IDENTICAL to the sensor in a DSLR.  There are multiple scenarios where the sensor in a Sony NEX is the same sensor as in a Nikon DSLR.  I do hear this misunderstanding fostered in camera stores by representatives who are either driven by margin/spiff or would not be able to find their own buttocks with both hands.
• Too Many Too Small Buttons - I have had this complaint myself about Japanese cars for years.  I have a mixed Russian / Highlander heritage.  I am a large and somewhat clumsy person and while my hands are not enormous, they require XL sized gloves.  I feel this way about a lot of mirror less cameras myself.  I need something to hang on to that is easy to work with.

Which leads me to the OM-D lineup.  They look like DSLRs.  Just smaller.  The M43 lenses are also smaller, so you can carry more of them without needing a chiropractor.  The smaller sensor does have more depth of field at a given aperture so the mechanics of focus speed are less demanding.  But at the same time, the performance of the sensors is extraordinarily good.  As part of my testing I shot at an Auto Show at ISO 3200 for the entire event.  The image quality was easily as good as, and often better, than DSLR cameras with a body price close to that of the E-M1.  So if one were to consider a mirror less as his or her next camera, instead of a DSLR, is the OM-D E-M1 a fit?

Yes it very likely is.

The OM-D E-M1 I evaluated for this review was part of a complete kit.  It included the body, the 12-40/2.8 short zoom, the battery grip, the FL-360 flash, the 60mm Macro, the 17/1.8 prime, the 45/1.8 prime, the 14-150/4-5.6 do everything lens, and the 9-18/4-5.6 wide angle zoom.  If that sounds like a complete kit, it's pretty darn close to one, although my perfect pack looks subtly different.  I will come back to that.

The Body

The E-M1 looks and handles like a DSLR.  My large hands held the camera just fine, but smaller hands found it easy to grip and easy to use as well.  The control layout is intelligent with a nice amalgam of analog style dials with an assortment of programmable buttons.

Looking down on the top on the left is what would have been the film rewind on an Olympus OM-1.  In this case it is a pair of buttons, one for focus type selection / metering mode and the other for drive mode / self timer / HDR setting.  Below this to the right is a lever that turns the camera on and off.  This is the first big improvement over the E-M5.  Buttons are easy to use and while you must be looking through the viewfinder or at the rear panel to make a selection, while turning dials, acclimatization is quick.  Then there is the "pentaprism" which of course is not a prism at all simply a bulbous DSLR like housing on which sits the hot shoe and a coupling for other accessories like a stereo microphone.  The shoe accepts any shoe mount flash but has pinouts for Olympus' own TTL connections. Immediately to the right of the prism is the mode dial, offering the usual PASM, intelligent Auto, a couple of scene modes and a video mode.  Easy to use and understand.  I get why there are Scene modes for marketing purposes but I don't understand why they take up space on a mode dial on a camera designed for people who will likely be shooting RAW.  To the right the grip starts to protrude and from front to back there is the shutter release with an adjustment ring around it whose function varies depending on mode, a contrast button that produces a Levels style layout in the viewfinder, the start stop button for video and a rear adjustment wheel similar in function to the one encircling the shutter release.

Observing from the front, there is a programmable button and a depth of field preview for the shooter's right hand, and a lens release button on camera front left.  There is also a real PC sync port under a screw on cap to use with older style cable only flashguns.

On the right side is the single door that give access to the SD card slot.  My tests involved the use of a Sandisk Extreme Pro 32GB card and I had no issues at all.

On the left side are covered ports for an external microphone, USB connector and micro HDMI out.  The covers are all semisoft plastic that click positively in place.  It should be noted that you will have to rotate the LCD a bit to easily open these covers.

Before going on gentle reader, you will note none of my frustration with badly placed strap lugs.  This is because while OIympus also favours the triangle shaped strap rings, someone actually must have tried the camera with a strap connected because they are well placed to not get in the way of the photographer.  This alone makes the OM-D preferable to most every other camera I have reviewed in recent months.  Nikon and Sony particularly need to get their thumbs out and go look at how Olympus did the job right.

The rear of the camera looks like most any other DSLR you've ever seen.  Upper left is a button to control the selection of the EVF/LCD, then the EVF viewfinder itself and its diopter adjuster.  The LCD is large and very bright and can be angled down or up, but not swung out.  To the right of the EVF is an AE Lock / AF Lock button with a two position switch.  I set it for back button focus as I do on my regular cameras and it did as it should.  Upper right is a programmable Function button Fn1 that I never had cause to use.  On the right side of the back is the four way rocker switch with the Set button in the middle.  There is an Info button above and a Menu and Play button positioned below.  Near the button edge is the differently colour coded Trash button.  All the buttons are small but sufficiently large to use and have enough throw that you know when you are using them without having to take your eye away and look.

The bottom plate as an all metal tripod screw socket in standard ¼ - 20, the primary battery container and a multi pin connector with a cover that is removed when you wish to add the external battery grip.  The external battery grip HLD-7 has space for a second battery, and replicates the adjustment wheels and shutter release from the top deck.  There are also two programmable buttons on the rear of the grip.  I set mine up for back button focus and AE lock.  The grip adds size and weight but in my mind makes the camera that much easier to handle.  While I could certainly use the E-M1 without a grip, I would be adding one in short order if I did not get one with the body.  The lower part of the grip is much wider than ostensibly needed but this ridge turns into a wonderful finger grip when shooting in portrait orientation.  I added an Arca-Swiss style dual dovetail plate to the bottom of the grip so I could use it with my Really Right Stuff clamps.

The Lenses

The 12-40 f/2.8

This is a really nice little lens, and in keeping with M43 metrics it is like a 28-80/F2.8 in the full frame world.  It is very wide, much more so than the other lenses I evaluated, primarily in order to deliver the practical maximum aperture of f/2.8  The lens has a programmable L-Fn function button that I never used, then a very smooth and pleasantly stiff zoom ring.  This zoom does not creep.  In front of this is the manual focus ring.  You pull the ring towards you to engage the manual focus which reveals a mostly useless set of distance markers.  Don't forget to push the ring forward to engage AF or you may find yourself happily shooting out of focus images if you are not paying attention.  The lens is priced at $999.99 typically although it is available at a bundled price with the body.  While this seems somewhat expensive, consider that both Nikon and Canon have lenses in similar focal length and aperture ranges at higher prices.  The lens is very good, very sharp and there was no startling distortion to be found with it.  I expect that this is the first lens that will go with most E-M1 bodies.  It takes a 62mm filter and includes a scalloped lens hood. Olympus says that the lens is dust / splash and freeze proof.

The 60mm f/2.8 Macro

This is a very odd little lens.  It is quite long and has a rotary switch on the barrel.  The switch is used to control the range of focus.  The default is from 0.19m to Infinity but other options exist for 0.4m to Infinity and 0.19m to 0.4m to prevent excessive hunting in macro work.  There is also a spring setting that does something internally to allow for 1:1 life size that then returns to the 0.14m - 0.4m range.  The maximum aperture is f/2.8 and I really liked the sharpness of the lens and negligible vignetting and distortion.  35mm full frame equivalent is 120mm offering very good standoff distance for macro work.  The lens takes a 46mm filter and is fitted for a bayonet mount lens hood.  The hood is extra and herein lies one of my major gripes with the Olympus glass.  Manufacturers make hoods because they are necessary.  Leaving the hoods out of the box is just nickel and diming customers and most photo retailers who stock the lenses fail to stock the hoods making them hard to get and stupidly overpriced.  Olympus says that the lens is dust and splash proof.  The lens sells for $499.99 typically.  Olympus hoods range in price from $34.99 to $79.99 so Olympus is clearly following the major vendor customer ripoff model.

The 9-18mm f/4-5.6 Zoom

I shot this lens extensively at the car show.  It is small, very light and the zoom action is smooth and fast.  What could make it better?  A faster maximum aperture.  This thing would kill at f/2.8 but that would drive the cost up.  With a 35mm full frame equivalence of 18 - 36mm this fits the slot that Nikon and Canon fill with their 16-35 zooms.  This one is slower but also ¼ the weight.  There is noticeable barrel distortion at 9mm at the edges but nothing that is not expected when pushing the limits of an ultra wide.  The construction is less robust than the first two lenses I discussed and there is no mention of this lens being anything proof.  The barrel feels like a cheap plastic even though it houses ED glass.   It also incorporates that odd lens lock where you have to unlock and extend the lens before it can be used.  This lens dates from the EP family of cameras and is probably due for a refresh.  It takes a 52mm filter and a bayonet mount hood that it of course does not come with.  Typical sell price for the lens is $749.99 similar to what one might pay for a similar focal length for a DSLR.

The 14-150mm f/4 - 5.6

I have looked at the OM-D for travel.  I wanted something lighter and smaller than my Canon 1D Mk IV or 1Dx but with a great all in one walk around lens.  Canon does a 28-300 that is sharp but enormous and heavy.  I have shot the 14-150 a lot, as it has been around for some time.  I used to use one on my Lumix GF1 back when I still owned that camera.  For a single walk around lens it's perfect.  Yes there is barrel distortion at the wide end and pincushion distortion at the telephoto end, and yes the barrel is all cheap plastic but it is lightweight, compact and very sharp.  I can correct the distortions in Lightroom and at a typical sell price of $629.99 this is a great choice.  The hood is bayonet mount and separate and sells for $34.99   Filter size is 58mm

The 17mm f/1.8

Since this is just like a 35/1.8 you might guess this would be my street lens of choice and you'd be right.  After all the go to lens on the Leica M240 is a 35/2.  Construction is metal, manual focus is silky smooth and the lens is so small that it is completely pocketable.  It takes a 46mm filter and of course doesn't include a hood which is metal and sells separately for $62.99  You can typically find the lens itself selling for $499.99 which is again pretty close to what you would pay for a similar full frame lens.  Being a prime, the design is simple and its nice and sharp.  Couple that with the next lens and you have a really nice kit...

The 45mm f/1.8

Okay get past the fact that this one looks a bit odd and think of a 90/1.8 in full frame.  Now imagine that fitting in a smaller pocket and needing only a 37mm filter.  If you are thinking something along the size of a 50mm Leica M lens, you are on track.  Light, optically fast, tack sharp, it's a great little portrait lens with wonderful out of focus highlights (the completely abused bokeh) shallow depth of field wide open and negligible distortion.  The lens sells for usually around $399.99 and the hood is about another $40.  So it's a bit less than a comparable 85/1.8 in full frame.

The FL-600R Flash

The OM-D comes with a little tiny slip on flash, probably so they can say it comes with a flash.  The guide number is so low and the tube so small, that using it as a flash should constitute emergency measures.  What it is good for is remotely controlling an external TTL flash.  Hence the FL-600R.  It has a guide number of 36, so similar in power to a Nikon SB-910.  Remote control of the flash involved a menu setting on the camera and a single setting on the flash.  It is line of sight control of course so you'll have to experiment with angles and positioning if you are not Joe McNally.  Mr. McNally of course could make line of sight work across the arc of the sun.  Neither of us is Joe McNally.  That said it works really well and is so easy to get going that there is no reason you would not carry this with you all the time to use as a little fill flash kicker.  The unit sells for around $299.99. Unfortunately there are not a lot of third party TTL flash choices for Olympus.

Usability

Ok, so how does it work in the real world.  Candidly it's freaking great.  If I did not have a ton of cash invested in other gear and if this thing had very fast primes my bank account would be in peril.  Yes it is that good.

The viewfinder is bright and easy to see, with a good and flexible level of information display.  This is the first time I have really used the flip up rear display and with its 1M pixels, the images were very sharp and easy to see.  I found it very simple to shoot low to the ground or over the heads of a crowd using this display and the different shutter buttons on the battery grip.  As I was using the 9-18 for these shots, depth of field was solid and I was able to get shots I would otherwise have not achieved.

A 16MP sensor of M43 size is more than adequate for my needs.  Images had good contrast, didn't block up and were very well exposed.  I forced the auto white balance into horrible conditions and it did a very good job considering the varying sources and colour temperatures of the different lights present.  As I was shooting in low light and at high ISO I was hoping for higher shutter speeds, but sometimes this would not work out.  If I work at it, I can shoot the 1Dx with a 14mm down to 1/20 of second without microshake being evident.  I routinely shot the E-M1 at 1/15 of a second.  The 5 axis in body stabilization is really that good.

Off Camera Flash

I carried the FL-600R around with me and managed it using only the little pop on flash.  I was able to get it to fire the remote more than 80% of the time in a large hall with lots of specular lighting.  Exposures were very good given the lack of reflecting backgrounds, a situation where TTL usually blows out completely.  Battery life is ok but I would be really worried about the first impact that the flash takes as it feels cheaply constructed.  My Metz units have been called upon too many times to prove that gravity works and they still do.  I don't think that the FL-600R would survive day to day work.  Given how good Canon and Nikon have made their Speedlight systems, Olympus needs to up its game here.

Changing lenses is fast as you would expect and I only got hung up by the locking mechanism on the 9-18 twice.  All other lenses were very responsive and I was overall pleased with the image quality across the board.

Menus

Using the menu system takes some work if you are coming off another body.  Menu layout is inconsistent with some pages being limited to screen length and others rolling over.   Naming conventions in menus is quite good and you can mostly find what you are looking for.  Of course I have zero use for all the Art filter crap or JPEG scenes so if there was a way to make those vanish completely in favour of simpler menus I would be all over that.

Video Performance

The video is very good.  It's not Sony A7 good but it is very good nonetheless.  Having the separate start stop is critical and AF in video does work decent enough, albeit with too much hunting for my like.  The focusing helicoids in the lenses are very steep so micro manual focus is challenging.  Perhaps a Zeiss Touit would be a better choice for serious video.

I do like that you can jack in a decent stereo mic into the hotshoe, and that there is a proper high impedance mic input on the body but for a camera of this cost, there should be a headphone jack.  Nothing destroys great video faster than crap audio and you need to be able to monitor the audio if you are recording in camera.  Yes you can buy an outboard device for audio but that defeats the purpose of an all in one device.

High ISO Performance

As I have already mentioned, I shot a lot of images at ISO 3200 and was very pleased with the originals.  That was about the threshold for images that I would use for HDR though as that process always seems to find every element of noise and light it up.  As I often do, I have a series of shots of Sondra here from ISO 200 to ISO 25600 so you can decide for yourself where the system starts to fall apart.

Downsides

If you use two batteries, you have to remove the battery grip to get at the one inside the body.  I would rather that they follow the Canon model where attaching the grip moves both batteries into the grip so you can swap them out without having to disassemble the camera.  Sounds like a bit of nitpicking but it is so.

Olympus includes only starter paper documentation, with the useful stuff on a CD.  The last three computers I have purchased have not had a CD/DVD drive.  Stop being cheap asses and put ALL the manuals on a memory stick and put it in the box.  Finding Olympus documentation on the Internet is more a pain in the ass than it should be.  The documentation when found is not very well written and is very lightweight on details.  Lens documentation, particularly for the macro needs work to become useful.

Both zooms are showing their age and need a refresh to better construction.  For the prices being charged, the barrels need to be metal and they need to be dust and splash proof if Olympus wants the OM-D to be taken seriously.  A camera that is well sealed is less useful if the lenses are not.  I understand why Olympus would not want to create segregation in their M43 line between Pro and Consumer grade lenses, but seriously, get over yourselves.  Canon and Nikon have already paved that road.

I love the wide range of bracketing options but don't like that the steps max out at +-1 EV. I would much rather have fewer exposures at wider EV variants.  Seriously what do I need 7 shots at ⅓ EV intervals for when the sensor is as good as it is.  This is "feature for the sake of marketing", not feature for the sake of value.  I would also like to be able to manipulate bracketing without having to dive so deep into the menu system.

The OM-D E-M1 is the top of the line camera, definitely a prosumer device so why do I have to go into menus to simply change the ISO?  If there was a dial to do this, then plainly I missed it.  Yes I know I could program a button, but why should I have to?

And if it is a prosumer device, could less CPU be wasted by dumping all the Art filter crap and in camera HDR that no serious photographer is ever going to use?  Scene mode?  Really?  RAW Rules guys, did you miss the memo?

Conclusions and Would I Buy?

The OM-D E-M1 is the best mirror less camera I have ever used.  It fits my hands, is very fast to shoot, is intuitive and produces great quality images.  There are lots of Olympus lenses, and a wide variety from other providers in the Micro Four Thirds consortium.  There are no super telephotos, and really fast primes don't exist.  Yet.  M43 is farthest along in mirror less and while Sony is doing good work, the E-M1 is a much better camera to me than the A7 I recently evaluated and has magnitudes of more glass available.

I don't need or want all the JPEG centric crap built into the camera and in my perfect world there would be a menu option to disable useless (to me) junk.  I don't think I am Mr. Super Photographer, I simply shoot only in RAW and prefer to manage my artistic work in post not in some JPEG that tosses away 70% of the data being captured by the oh so good sensor.

If I were in the market for something smaller and with very fast AF and interchangeable lenses, I would be putting Mr. American Express on the counter for the EM-1.  As it stands, I have my Leica for when I want unobtrusive and I'm not so sanguine about duplicating all my Canon glass.  And I do want that fast glass and long fast telephoto option, mostly because I have it today.  The high ISO performance is definitely good.  Not as good perhaps as the 1Dx, but more than needed for most anything I do with regularity.

As more and faster primes with weather sealing become available, and perhaps an update of the 14-150, this camera becomes more and more attractive.  Back in the days of film, the OM-1 and OM-2 were physically smaller than their peers.  They made excellent images with the right driver behind the lens.  The OM-D lineup is smaller than today's DSLRs but just for yucks, I pulled out my venerable (and still perfectly functional) Minolta XD-11.  Taking the size of the lenses out of the equation, the OM-D is not much smaller than the XD-11 which for its time was a standard sized SLR.  Today's "pro" DSLRs are considerably larger than their film counterparts.  It's not about the size, it's about what you can do with it, and the Olympus OM-D E-M1 brings you all the tools you need.  And if getting what you want involves carrying a couple of bodies and a load of lenses all day, your spine will thank you for the OM-D, even if your chiropractor does not.

Specifications (Courtesy Olympus) - lifted right from their website

FOCUSING SYSTEM

With the new 16 MP Live MOS Sensor, the OM-D E-M1 automatically switches between Contrast Detection AF or Phase Detection AF to deliver blazing fast autofocus speed - no matter which Olympus Zuiko lens you use. All of our lenses -- from our super-quiet MSC Micro Four-Thirds lenses to our renowned SWD Four Thirds lenses work seamlessly and to their full potential when paired with the OM-D E-M1. Features such as Focus Peaking and Magnified Focus Assist let you use your favorite OM lens with the appropriate adapter for beautiful results.

AF system

High-speed imager AF (Contrast detection / On-Chip Phase-difference detection)

*For complete compatibility and full AF performance with our super quiet MSC Micro Four-Thirds and SWD Four -Thirds lenses.

Focus mode

Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF) / S-AF + MF / AF tracking (C-AF + TR)

• Full-time AF
• Available
• Magnified frame AF
• Selectable from over 800 AF points

Enlarged view check by magnify button (available with old lenses*)

Magnification x5, x7, x10(Default), x14 selectable

* lenses without data communication

Face detection AF / Eye detection AF

Available / Available

Eye Detection AF mode: Off / Nearer-eye priority / Right-eye priority / Left-eye priority

Focusing point / Focusing point selection mode

81-area multiple AF (Contrast detection AF), 37-area multiple AF (Phase-difference detection AF)

All target, Group target area (3x3-area),

Single target(Standard Target Size/Small Target Size)

AF illuminator

Available

Manual focus assist * Customize function

Live view image is magnified when the focus ring is rotated. (at S-AF+MF or MF mode)

Peaking function

Available (White edge type, Black edge type)

AF tracking

Yes

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SHUTTER

The OM-D E-M1 has a 1/8000 second high-speed mechanical shutter, allowing you to freeze quick-moving action without blurring. Use prime lenses at their maximum aperture to capture beautifully defocused background images in bright daylight.

Shutter type

Computerized focal-plane, high-speed, mechanical shutter

Shutter speed

1/8000 - 60 sec. (1/3, 1/2, or 1EV steps selectable)

Bulb/Time: default setting 8min. (1/2/4/8/15/20/25/30 min. selectable)

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DRIVE

High-speed sequential shooting as fast as 10fps can be accomplished when using the Tracking AF (C-AF + Tr), which works in tandem with the Autofocus to follow your subject. 6fps in C-AF.

Sequential shooting　 maximum　speed[Sequential shooting H mode]* 10.0 fps * in case of "I.S. Off"* including AF tracking (C-AF + TR)* Focus and exposure are fixed at the values for the first shot.[Sequential shooting L mode] 6.5 fps* in case of "I.S. OFF".* including C-AF* When using the M.ZUIKO DIGITAL ED 12-50mm f3.5-6.3 EZ, M.ZUIKO DIGITAL ED 12-40mm f2.8PRO.Max. recordable pictures

[RAW] Max. 50 frames (in seq. shooting L), Max.41 frames (in seq. shooting H)

on sequential shooting *

[JPEG] Max. Card Full frames (in seq. shooting L), Max. 95 frames ( in seq. shooting H)

* When using the M.ZUIKO DIGITAL ED 12-50mm f3.5-6.3 EZ.

* With TOSHIBA SDHC UHS-I card, based on Olympus in-house measurement conditions.

Self-timer

Operation time: 12 sec., 2 sec.,custom (Waiting time 1-30sec.,Shooting interval 0.5/1/2/3sec.,Number of shots 1-10)

REVOLUTIONARY DESIGN

For photographers who prefer composing their shots using an eye-level viewfinder, the OM-D E-M1 will be a revelation. The new, interactive high-definition EVF features a 2.36 million dot resolution, an impressive 1.48x magnification, 29ms image display lag, eye sensor for automatic switching between the EVF and monitor and intuitive functionality for real-time viewing of any shooting situation.

Product Type

Micro Four Thirds interchangeable lens system camera

Memory

SD Memory Card*1 (SDHC, SDXC, UHS-I , compatible, Eye-Fi Card compatible*2 )

*1: Class 6 or higher is recommended for Movie shooting.

*2: Not compatible with Endless mode.

Lens mount

Micro Four Thirds Mount

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DIMENSIONS / WEIGHT

The OM-D E-M1 is built around the Micro Four Thirds standard, making it smaller, lighter and more portable. Pack light and pack more lenses on your important photo outings. Shoot all day without lugging around a heavy, outdated system.

Dimensions

130.4mm (W)× 93.5mm (H) × 63.1mm (D)

5.1" (W) x 3.7" (H) x 2.5" (D)

[CIPA guideline compliant, excluding protrusions]

Weight

[CIPA guideline compliant, with BLN-1 battery and Memory card]

Approx. 497g/17.5oz(1.1lbs)

[body only]

Approx. 443g/15.6oz(0.98lbs)

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BODY CONSTRUCTION

Outer Material

Metal

Inner Frame

Magnesium Alloy

RUGGEDNESS

Rain or snow, mud or dust – the E-M1 is ready for whatever mother nature can throw at it. Its rugged design expands your field of photography to any place on earth.

Freezeproof

Yes

Dustproof

Yes

Splash proof

Yes

OPERATING ENVIRONMENT

Temperature

-10 ~ +40℃ (operation) / -20 ~ +60℃ (storage)

+14 ~ +104 °F

Humidity

30 - 90% (operation) / 10 - 90% (storage)

-4 ~ +140 °F

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VIEWFINDER

The new, interactive high-definition EVF features a 2.36 million dot resolution, an impressive 1.48x magnification, 29ms image display lag time, eye sensor for automatic switching between the EVF and monitor and intuitive functionality for real-time viewing of any shooting situation.

Finder typeEye-level electronic viewfinder, approx. 2.36M-dot resolutionField of view / Viewfinder magnificationApprox. 100% / Approx. 1.30x*1 - 1.48x*2 (-1m-1, 50mm lens, Infinity)*1: at Finder Style 1, 2 (aspect 4:3)*2: at Finder Style 3 (aspect 4:3)Image Display Lag Time29 milli seconds

Eye point / Diopter adjustment range

Approx. 21mm (-1m-1, Distance from rear lens surface) / -4 ~ +2m-1

Preview

Available with Live Preview function button

Displayed Grid

Off / Normal Grid / Golden Grid / Scale / Diagonal / Movie Grid selectable

Level Gauge

2-axis level gauge; horizontal /vertical

One Touch Tele-Converter

2x magnification

Finder Style

Selectable from 3 types

Brightness / Color temperature control

Available/Available

Eyecup

Optional eyecup EP-13 is available.

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REAR MONITOR

Its tilting, touch screen display makes focusing, choosing AF points, releasing the shutter, swiping through images in playback and changing settings effortless.

Screen size

3.0-inch / 7.6-cm

Monitor type

Tilt Touch Wide LCD with approx. 1037K dots resolution

*8: Approx.1037k dots, Touch control in electrostatic capacitance Type

Touch control

Touch shutter release, Touch enlargement, Touch Live Guide, AF area selection, AF area enlargement, Frame advance/backward, Enlargement playback, Touch Super Control Panel, Touch Art Filter menu,Wi-Fi function

Tilting angle

Upward tilting angle: up to 80 degrees / Downward tilting angle: up to 50 degrees

Brightness / Color temperature control

±7 levels / ±7 levels

Color tone select

Vivid / Natural

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LIVE VIEW

Live view

Approx. 100% field of view,

Exposure compensation preview, WB adjustment preview,

Gradation auto preview, Face detection preview (up to 8 faces),

Grid line, Histogram, Magnification display (x5/x7/x10/x14), Normal, Highlight & Shadow, Level Gauge, Off

Type

Image Sensor type

Field of view

Approx. 100%

Display Mode

Normal Mode, Histogram Mode, Level gauge, Highlight and shadow, Off

Magnification Ratio

x5, x7, x10 (Default), x14

Monitor information

Aperture value, Shutter speed, Auto Bracket, AE Lock, AF mode, IS, Shooting Mode, Battery Check, Myset, Internal Temperature Warning, Face / Eye Detection, Histogram, Number of storable still pictures, Record mode, ISO, Sequential shooting, Self-timer, White Balance, Metering Mode, AF confirmation mark, Exposure Compensation Value, Spot metering Area Flash Mode, Flash Status, Flash intensity Control, Super FP, Focal length, Tone control, Eye-Fi condition, Digital teleconverter, Battery check

Display of Face Detection

Max 8 frames of face detection can be displayed.

Live View Close Up Mode

Available at HDR1 and HDR2 shooting

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POWERFUL VERSATILITY

SYSTEM ACCESSORIES

Lenses

32 Olympus Lenses and 57 lenses from all Four Thirds consortium members

Optional Battery Grip

HLD-7 Battery and Grip

Grip Strap

GS-5

Underwater Housing

PT-EP11

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FLASH

Flash intensity control method

TTL Auto, Auto*, Manual, super FP*(FP-TTL AUTO, FP-MANUAL)

* Available on the external flash

Bundled flash*

TTL flash,GN=7(ISO100・m) / GN=10 (ISO200・m)

* Attach it on the hot shoe and connect it to the accessory port 2. Available on FL-LM1/2.

Flash mode

Flash Auto, Redeye, Fill-in, Flash Off, Red-eye Slow sync.(1st curtain), Slow sync.(1st curtain), Slow sync.(2nd curtain), Manual 1/1 FULL 1/64

Synchronization speed

1/320sec. or less*

* It depends on flash models or flash mode

FL-LM1/2: 1/320 sec., Other: 1/250 sec.,

Super FP: 1/125-1/8000 sec.

Flash intensity control

Up to ±3 EV in 0.3, 0.5, 1 EV steps selectable

Compatible external flash

FL-50R, FL-36R, FL-20, FL-14, FL-300R, FL-600R

Colour Temperature

5500±400°

External Flash control mode

TTL Auto, Auto, Manual, FP-TTL-AUTO, FP-MANUAL

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WIRELESS FLASH CONTROL

Wireless flash transmission channel settings enable selection of the flash/no flash for groups of multiple flash units. In addition, it allows TTL auto, auto and manual models to be set; offers a bounce and swivel head; and flash coverage is automatically adjusted in several steps to correspond to the image area when zooming.

Compatible external flash

FL-50R, FL-36R, FL-300R, FL-600R

Control method

Triggered and controlled by built-in flash

(Olympus Wireless RC Flash system compatible)

External Flash intensity type

TTL Auto, Auto, Manual, FP-TTL-AUTO, FP-MANUAL

Channel No.

4 channels

Group No.

4 groups (External flash 3 groups + a bundled flash*)

* Available on FL-LM1/2 / FL-600R

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PROFESSIONAL IMAGE QUALITY

INCREDIBLE SPEED

With the new 16 MP Live MOS Sensor, the OM-D E-M1 automatically switches between Contrast Detection AF or Phase Detection AF to deliver blazing fast autofocus speed - no matter which Olympus Zuiko lens you use. All of our lenses -- from our super-quiet MSC Micro Four-Thirds lenses to our renowned SWD Four Thirds lenses work seamlessly and to their full potential when paired with the OM-D E-M1.

Product type

4/3 Live MOS Sensor

Number of pixels / Aspect ratio

Number of effective pixels: Approx. 16.3 million pixels

Total number of pixels: Approx. 16.8 million pixels

Aspect ratio: 1.33 (4:3)

Dust reduction

Supersonic Wave Filter (dust reduction system for image sensor)

Filter array

Primary color filter (RGB)

*Uses information communicated from the lens such as aperture setting and optical characteristics to optimize the final image.

Image Processor

TruePic™ VII

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IMAGE STABILIZATION

The OM-D E-M1 is equipped with the world’s first 5-Axis image stabilization system with IS-Auto. 5-Axis IS compensates for vertical, horizontal and rotational camera shake that conventional 2-axis systems could not. 5-Axis IS is built into the camera body to ensure stabilization with all lenses and makes stable movie recording possible.

System Type

Built-in (Image sensor shift type for movie & still, 5-axis* image stabilization)

* yaw/pitch/vertical shift/horizontal shift/rolling

Mode

4 modes (S-I.S.AUTO,S-I.S.1, S-I.S.2, S-I.S.3), OFF

IS for finder image

Available (by half-pressing the shutter button or enlargeing operation)

Focal length setting

Available

Lens IS Mode

Available

Available manual focal length setting

Input focal length : 8, 10, 12, 15,16, 18, 21, 24, 28, 30, 35, 40, 48, 50, 55, 65, 70, 75, 80, 85, 90, 100, 105, 120, 135, 150, 180, 200, 210, 250, 300, 350, 400, 500, 600, 800, 1000

Stabilization performance

4 EV steps*

* Based on CIPA measurement conditions.

Shutter speed range

60 - 1/8000 sec. (Not available when Bulb and Time is selected.)

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EXPOSURE CONTROL (STILL)

The E-M1 provides DSLR quality in low light photos with an increased ISO sensitivity to 25,600.

Metering system

Digital ESP metering (324-area multi pattern metering), Center weighted average metering, Spot metering, Spot metering with highlight control, Spot metering with shadow control

(TTL Image sensor metering)

Metering range

EV -2 - 20 (at normal temperature, 17mm f2.8, ISO 100)

Exposure mode

i Auto, P: Program AE (Program shift can be performed), A: Aperture priority AE, S: Shutter priority AE, M: Manual, Bulb, Time, Scene select AE, Art Filter, Underwater wide / macro*

* Selectable from menu as a function on Fn-1/Rec button

Scene select AE

Portrait, e-Portrait, Landscape, Landscape + Portrait, Sport, Night, Night + Portrait, Children, High Key, Low Key, DIS mode, Macro, Nature Macro, Candle, Sunset, Documents, Panorama, Fireworks, Beach & Snow, Fisheye Conv., Wide Conv., Macro Conv., 3D*

*3D lens(H-FT012 by Panasonic) only, still only

ISO sensitivity

Auto: ISO LOW (approx. 100) - 25600 (customizable, default ISO LOW - 1600) Manual: ISO LOW (approx. 100) - 25600 in 1/3 or 1 EV ISO steps

Exposure compensation

±5 EV in 1/3, 1/2, 1 EV steps selectable

AE lock

Locked at 1st release of shutter button (can be set to Fn1/Rec button)

Metering standard value adjustment

1/6 EV step, +/- 1EV range

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NOISE FILTER

at High ISO setting

Off, Low, Standard, High

NOISE REDUCTION

at Slow shutter speed

Off, On, Auto

On : effective when shutter speed is slower than 1 sec.

Auto : effective when shutter speed is slower than 4 sec. (at ISO 200 or higher) or 8 sec. (at lower than ISO200)

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RECORDING (STILL)

Recording format

DCF, DPOF compatible / Exif, PRINT Image Matching III, MPO compatible

File format

RAW (12-bit lossless compression), JPEG, RAW+JPEG, MPO(3D still)

Recording image size

[RAW] 4608 x 3456 pixels

[JPEG] 4608 x 3456 pixels - 640 x 480 pixels

File size

RAW: 4608(H)x3456(V) (approx. 1/1.5 lossless compressed) Approx. 17MB

Set1(LF): 4608(H)x3456(V) (1/4 compressed) Approx. 7.5MB

Set2(LN): 4608(H)x3456(V) (1/8 compressed) Approx. 3.5MB

Set3(MN): 2560(H)x1920(V) (1/8 compressed) Approx. 1.1MB

Set4(SN): 1280(H)x980(V) (1/8 compressed) Approx. 0.4MB”

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BUILT-IN WI-FI

WI-FI FUNCTION

Take control of your OM-D E-M1, without touching it! Using the O.I. Share app, you can preview your composition, choose the AF point and release the shutter; perfect for tripod or portrait shooting.

GPS function

Availabe (Aquire the position information from smartphone with GPS function)

Wireless shooting function

iAUTO, P, A, S, M, live valve / time support. Aperture, shutter speed, exposure compensation, ISO speed, WB, continuous shooting setting possible.

Remote live view, remote REC VIEW, wireless touch AF shutter, Shutter timer (countdown with sound), remote power OFF

Image Share Function

Reserve the picture which will be transferred to smartphone. (Max 4 smart device connections) can transfer image; (except MPO) PEG, only MOV.

Smart & Easy Connection

Smart & Easy connection by QR code.

IN-CAMERA CREATIVITY

PICTURE MODE

The new Color Creator feature lets you adjust Hue and Chroma right in the EVF and preview the effect in “real time”

Mode

i-Enhance, Vivid, Natural, Muted, Portrait, Monotone, Custom, e-Portarait, Color Creator, Art Filters

Gradation

Auto, Normal, High Key, Low Key [except Art Flters]

Adjustment parameter

4 levels (Auto, Normal, High key, Low key)

Filter effect (B&W filter)

Neutral, Yellow, Orange, Red, Green for Monotone

Picture tone

Neutral, Sepia, Blue, Purple, Green for Monotone

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HDR

HDR art photos can easily be captured with 12EV wide-range bracketing shooting.

HDR(Auto composite)HDR1,HDR2* Available with P, A, S and M mode.* Takes 4 pictures at different exposures composite into a high contrast image.Bracketing for HDR post-process3 or 5 frames in 2.0/3.0EV steps selectable, 7 frames in 2.0EV steps selectable.* HDR picture can not be made by this function.* HDR function can be called by Fn-button.

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BRACKETING

Using Art Filter Bracketing when you can’t make up your mind about shooting a filter. Generate multiple pictures with Art Filters with a single shot and then view them as a slideshow.

Exposure bracketing

2, 3 or 5 frames in 0.3/0.7/1.0EV steps selectable, 7 frames in 0.3/0.7EV steps selectable

ISO bracketing

3 frames in 0.3/0.7/1.0EV steps selectable

White balance bracketing

3 frames in 2, 4, 6 steps selectable in each A-B/G-M axis.

Flash bracketing

3 frames in 0.3/0.7/1.0EV step selectable

Art Filter bracketing

i-Enhance, Vivid, Natural, Muted, Portrait, Monotone, Custom, Art Filters selectable

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ART FILTER

Twelve in-camera Art Filters are enhanced by new filter variations, art effects and bracketing. You can use Art Filters in all shooting modes as well as filming 1080 HD movies.

Mode (Variation / Effect)

Pop Art (I, II / a.b.c.d.e)

Soft Focus ( - / c.e)

Pale & Light Color (I, II / a.b.c.d)

Light Tone ( - / d)

Grainy Film (I, II / b.c.d.f.g)

Pin Hole (I, II, III / d.)

Diorama ( - / d.)

Cross Proscess (I, II / b.c.d.)

Gentle Sepia ( - / a.b.c.d.)

Dramatic Tone (I / b.c.d.e) (II　/ b.c.d.e.f.g)

Key Line (I, II / a.b.c.d.e.)

WaterColor (I, II / a.c.d.)

Art Effect

a. Soft Focus Effect

b. Pin-Hole Effect

c. White Edge Effect

d. Frame Effect

e. Star Light Effect

f. Defocus Effect

g. B&W Effect (Yellow, Orange, Red, Green)

h. Picture Tone (Sepia, Blue, Purple, Green)

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PHOTOSTORY

With Photo Story, users can shoot a normal, everyday scene from multiple viewpoints and combine them into one image. Simply turning the mode dial to “Photo Story”, you’ll be provided with different formats to choose from, and everyday occurrences will become memorable scenes.

Type (Variation/FrameEffect/WindowAspect)

Standard II,Ⅱ,Ⅲ,Ⅳ/a, b, c, d, e/A, B, C, D

Frame Effect

FunFrameⅠ,Ⅱ,Ⅲ

a. White Frame

b. White Frame & White Edge Effect

c. Black Frame

d. White Frame & Pin Hole Effect

Aspect Window/Pattern

A. 4:3/2Frames

B. 4:3/3Frames

C. 1:1/2Frames

D. 1:1/3Frames

E. 1:1/4 Frames

F. 16:9/5 Frames

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INTERVAL SHOOTING

Interval Shooting

1-999 frames, Interval time 1sec-24hours, Time lapse movies

MULTI EXPOSURE

Number of picture / Function

2 frames / Auto gain, Exposing on Recorded picture(RAW)

LEVEL GAUGE

Detection

2-axis (vertical and horizontal)

ONE PUSH TELE-CONVERTER

Magnification

x2

MULTI ASPECT

Aspect Ratio

4:3(Default) / 3:2 / 16:9 / 1:1 / 3:4

Process

RAW: Aspect ratio is recorded as Exif data, JPEG: JPEG image is produced based on the aspect ratio

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WHITE BALANCE

White balance mode

Auto WB, 7 Preset WBs, 2 Capture WBs, Custom WB(Kelvin setting)

White balance compensation

±7 steps in each A-B/G-M axis * Except for Custom WB

Preset white balance

7 preset WBs (3000K - 7500K)

- Sunny(5300K), Shadow(7500K), Cloudy(6000K), Incandescent(3000K), Fluorescent(4000K), Underwater, WB Flash(5500K)

CWB (Kelvin setting)

1 setting can be registered at Kelvin temperature, 2000K to 14000K.

Capture white balance

2 custom settings can be registered

COLOR MODE

Colour matrix

sRGB, Adobe RGB

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RECORDING (VIDEO)

Shoot up to 29 minutes of 1080 30p HD video and stereo sound in either .MOV or .AVI formats. A Direct HD Movie Button switches you from still to movie mode with just the press of a button.

Recording format

MOV(MPEG-4AVC/H.264) , AVI(Motion JPEG)

Movie Mode

[MOV]

Full HD: 1920(H)x1080(V), 　30ｐ(29.97 Recording

24Mbps（Fine) / 16Mbps Normal) : Aspect 16:9

HD: 1280(H)x720(V), 　30ｐ(29.97 Recording

12Mbps（Fine) / 8Mbps Normal) : Aspect 16:9

[AVI Motion JPEG]

HD: 1280(H)x720(V), 30fps *20, Aspect 16:9

SD: 640(H)x480(V), 30fps *20, Aspect 4:3

*20 : Except for some of the Art Filters

Maximum Recording Time

[MOV]

Full HD : Approx. 29min(Normal) / Approx. 22min(Fine)

HD : Approx. 29min(Normal) / Approx. 29min(Fine)

[AVI]

HD : Approx. 7min*21 / SD : Approx. 14min*21

*21 : Except for some of the Art Filters

Movie Function

Movie Effect* : One shot echo / Multi echo / Art fade *Default ON

Art Filter Movie, Aperture priority Movie, Shutter Priority Movie, Manual Shooting Movie

Movie Tele-converter

×4* Avairable on Movie effect mode

TimeLapse Movie

Available AVI Motion JPEG　 1280×720,10fps)

IS for Movie

Built in (Image sensor shift type image stabilization)

M-IS.ON,off, Panasonic OIS lens priority

AE Lock

Available

Exposure control - Movie

P: Program AE, A: Aperture priority AE, S: Shutter speed priority AE, M: Manual, Art Filter

* S mode and M mode: Shutter speed is limited in less than 1/30 sec.

Compression ratio

Motion-JPEG Format: 1/12(HD), 1/8(SD)

File size

MOV Format: Max 4GB

Motion-JPEG Format: Max 2GB

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RECORDING (SOUND)

Recording format

Wave Format (Stereo linear PCM/16-bit, Sampling frequency 48kHz)

Microphone/Speaker

Stereo/Mono

Microphone function

Wind Noise Reduction, Recording Volume

Audio dubbing possible for still pictures (up to 30 sec.)

Maximum Recording Time

Picture with Sound: 30sec.

Movie: depend on Movie Recording Time

INTUITIVE MENUS

SUPER CONTROL PANEL

Information (shooting)

Battery information, Shooting mode, Shutter speed, Aperture value, Exposure compensation value, ISO sensitivity,Exposure compensation indicator, Exposure indicator, Flash intensity compensation indicator, Date, Auto BKT setting, NR setting, WB, WB compensation value, Record mode, Flash Status, Record mode, Image size, Drive mode, Flash intensity compensation value, Metering mode, Recordable still image number, Focusing mode, AF frame, Colour space, Sharpness, Contrast, Saturation, Internal Temperature Warning Gradation, IS activating mode, Face detection, My Mode, Multi Exposure, Aspect Ratio, Super FP

LIVE CONTROL

Information (shooting)

Battery information, Shooting mode, Shutter speed, Aperture value, Exposure compensation value, ISO sensitivity,Exposure compensation indicator, Exposure indicator, Flash intensity compensation indicator, Date, Auto BKT setting, NR setting, WB, Record mode, Flash Status, Image size, Drive mode, Flash intensity compensation value, Metering mode, Recordable still image number, Focusing mode, AF frame, Internal Temperature Warning, IS activating mode, Face detection, My Mode, Multi Exposure, Aspect Ratio

LIVE GUIDE

Setting Menu

Color saturation, Color image, Brightness, Blur Background, Express Motion, Shooting Tips

PLAYBACK

Playback mode

Single-frame, Information display, Index display (4/9/25/100 frames), Calendar, Enlargement (2x - 14x), Movie (with sound, FF/REW/Pause), Picture rotation (auto), Slideshow *(with BGM/BGM+Sound/Sound)

* Slideshow : Still/Movie/Still+Movie, When a camera is connected to HDTV with HDMI cable, 2 new slideshow effect can be selectable.(Still) 1 BGM replaceable. Auto angle correction

Information display

Histogram (independent luminance / RGB available), Highlight/Shadow point warning, AF frame, Photographic information, OFF

MENU

Languages

34 languages selectable:

English, French, German, Spanish, Italian, Japanese, Korean, Traditional Chinese, Simplified Chinese, Russian, Czech, Dutch, Danish, Polish, Portuguese, Swedish, Norwegian, Finnish, Croat, Slovenian, Hungarian, Greek, Slovakian, Turkish, Latvian, Estonian, Lithuanian, Ukrainian, Serbian, Bulgarian, Rumanian, Indonesian, Malay, Thai

RESET & CUSTOM SETTING

My mode

4 settings recordable / Available on allocating to mode dial.

IMAGE EDITING

Editing function

RAW development, Gradation auto, Monochrome, Sepia, Red-eye fix, Saturation, Resize (1280x960, 640x480, 320x240), Trimming, Aspect, e-Portrait, Image Overlay, Postrecording

RAW picture editing

RAW development based on settings of the camera(including Art Filter，ART-BKT)

Detail edit acceptable. (Preview, Memory of 2 setting, re-development)

JPEG editing

Shadow adjustment, Red-eye fix, Cropping, Aspect, Black&White, Sepia, Saturation, Resize, e-portrait

Image Overlay

Up to 3 RAW images

Erasing function

Single frame, All, Selected frames (from Index)

Protect function

Single frame, Selected frames, Release protect (Single/All selected)

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ADDITIONAL INFORMATION

INPUT/OUTPUT

USB/AV/Remote controller connector

Dedicated multi-connector [USB: USB2.0 Hi-Speed, Video: NTSC/PAL selectable, Optional Remote cable RM-UC1 can be used.]

HDMI connector

Micro HDMI （Type-D)

Flash attachment

Hot shoe

Accessory Port 2

Dedicated multi-connector [Available for VF-2/VF-3/VF-4, SEMA-1, MAL-1 and PP-1.]

Wireless LAN

MIC. Input Jack

φ 3.5 stereo mini jack

PC interface

USB2.0 Hi-Speed

TV interface

HDMI (HD/Stereo Sound), VIDEO-OUT(SD/Mono Sound)

DC-in

POWER REQUIREMENTS

Battery

BLN-1 Li-ion battery (included)

Power battery holder

AC adaptor

Sleep mode

Available (1/3/5 min. off selectable)

Number of recordable pictures

Approx. 350 shots [IS ON, CIPA test standard]

(with BLN-１ and TOSHIBA super high-speed Class 6 SDHC 4GB card)

BOX CONTENTS

Box contents

Body, Li-ion battery BLN-1, Li-ion battery charger BCN-1, FL-LM2 Flash, USB cable, Shoulder strap, OLYMPUS Viewer 3 (CD-ROM), Instruction manual, Warranty card

REVIEW : Sony A7

A number of readers have asked for my thoughts on Sony's compact A7 camera.  So with the support of Chris Atkinson at Henry's Newmarket, I obtained an evaluation unit to put through the paces.  The start was inauspicious however, because Sony is one of those companies that is SO STUPID that the only way to charge the battery is to have it in the camera and plugged into the wall.  Minuscule charge indicator, no ability to charge a battery while using the camera, no ability to use the camera while charging the battery, and a charge time of only 310 minutes which doesn't look nearly as crappy as 5 HOURS.  Whichever would be rocket surgeon (that's a W reference btw) thought this was a smart idea in a prosumer product needs to be packed into a missile and fired directly into the Sun.  Idiots.  Fortunately, things get better...The Basics The A7 is an interchangeable lens camera offering a 24.3 megapixel full frame sensor driven by Sony's BIONZ X series processor.  The camera uses Sony E Mount lenses.  What makes the A7 and its sibling the A7r special is the size.  It's small.  In fact it reminds me of the wonderful Olympus OM-D E-M1 in form factor.  Except instead of being M4/3 it's full frame!

The viewfinder is electronic as one would expect in a mirror less system camera.  It uses an OLED display with 2.4M dots so it is very bright and very easy to read.

There's a lot to like about the A7 as you'll see but there are a couple of items that annoyed me right out of the box, in addition to the moronic attitude towards battery charging.  The strap lugs are the triangle type.  The lugs are positioned ideally to ALWAYS be in the way of your right hand fingers.  I'm becoming certain that no one actually tries these things out with a strap mounted during the design process.  The placement is lousy.

The other thing that really puts me off is the fake shutter noise.  The A7 is a mirror less camera.  It could be dead silent.  But the default is a ka-chunk you can hear while a freight train steams beside you.  The A7 is elegantly beautiful and unobtrusive, until you press the shutter button and then it has all the grace of a hippo with gas, passing wind in a bathtub.

Moving on to the good stuff, and there is a lot of good stuff...

The A7 offers a 24MP sensor but if you want more there is the A7r which has a 36MP full frame sensor and no anti-aliasing filter.  Haven't personally seen one, but they do exist.  For the purposes of this review, it's all done with a regular A7.

The camera came with the new FE series 28-70.  For a full frame zoom, this is kind of a short range and it's not a speed demon being f/3.5-f/5.6.  Construction is really solid though, and there are faster FE lenses available in primes and fast zooms, some with Zeiss optics.  Note that I keep referring to FE series.  These are the Full Frame E Series lenses.  The NEX E series are designed for APS-C sized sensors, so while you can mount them up, they do not produce a full frame image circle without some vignetting or falloff.  A limited selection of available FE lenses is going to slow adoption of the A7 and A7r.  You can of course still use the other E mount lenses and the camera offers an automatic conversion to crop sensor similar to Nikon.

The rear LCD is quite nice and has the angle capability seen on other Sony cameras so you can tilt it up or down, but not to the side.  There's usability in this when shooting video.  Indoors it is bright and easy to see but while outside on a sunny day doing test shots, it was nearly unreadable.  I also find that it sucks up nose grease very quickly and is hard to get clean.  You'll want to have a micro fibre cloth in your bag with you.

The control layout is quite good.  There is a master dial for mode selection, and a secondary dial that gives direct access to exposure compensation.  This is one of my favourite features as it makes adjustment very quick and because you see simulated exposure in the EVF, you get a very good sense of what the compensation is going to do for you.  There is a dial towards the front to control aperture and one towards the rear to control shutter speed.  You can reverse them in the menus if you prefer.  There is no top deck ISO control, and while the AUTO ISO functionality works well, I would rather not have to dive into a menu or navigate the popup from the Fn button on the back just to manipulate the ISO.

Some readers will recall my effusive love of the original RX-100 and how good I thought that Sony's Superior-Auto mode was for most any exposure situation.  The brand new shooter is going to love the AUTO mode because it's the same powerful Superior-Auto as in the RX-100.

And of course the camera has numerous Scene modes and Sweep Panorama that serious photographers aggressively ignore.

The kit lens is what you would expect, sharp enough with reasonable distortion and vignetting control.  When importing RAW files (Sony's own ARW) to Lightroom, there is a Lens Correction profile present that fixes the distortions and vignetting available.  The changes you see are significant.  I do wish that for the lens' not insignificant size that it was either optically faster or had a more useful zoom range.  I found the construction felt good but the zoom was very stiff.  In fairness the day started out at -20 Celsius and only warmed up to -10 Celsius before I left to come home.  I would very much like to shoot this camera with one of the Zeiss optics that are coming for the A7 series.  A camera this size with a fast 35mm and fast 85mm could be very usable.

I was griping earlier about the length of time to charge the battery and that it has to be in the camera to be charged.  You can buy a separate external charger and extra batteries.  These are a must.  After shooting only 115 exposures, I was down to 65% battery according to the display.  This suggests that you will top out just under 400 exposures, so if you are serious about your photography, or doing a lot of bracketing, or simply like being out for a long day of making images, you are going to need more batteries.  I did not obtain the external charger as part of this evaluation, so cannot advise on whether the recharge time is faster than the USB method.

Shutter Speeds

The camera can offer shutter speeds from 1/8000 down to 30 seconds plus bulb mode.  Like Sony NEX cameras, you can buy additional applications and download them to the camera including functions like an intervalometer.  I think that this is nickel and diming the customer given the relatively high price of the camera, but this is of course just my opinion.

Menus

The menu system is quite intuitive and a menu page rarely has more options than the height of the screen.  Options are where you might expect them to be and I would assess the learning curve to becoming very comfortable to be quite shallow.  I would rate the Sony menu system as better than most.

Flash

The A7 has no built-in flash and does include Sony's proprietary multi-pin connector at the front of the shoe.  This allows for more than just flash units to be installed there.  Other items include a shoe mount microphone system.  Sony does offer combo flash / video light units and they are available with full TTL, remote capability, bounce heads and decent guide numbers.  I did not obtain a flash to evaluate.  At some point in the future I will do so to see how the Sony system compares to other line of sight infrared remote flash management systems.

Continuous Shooting and Bracketing

Burst mode is up to 5fps and like other digitals, is leveraged for bracketed shooting.  Up to 5 frame brackets are available at intervals of up to 0.7 EV, and the limit drops to 3 frames at 1 and 2 EV.  Of course you can manually bracket as much as you want but I found the +-2EV 3 image bracket to be very convenient during my outdoor test shoot as it was bright sun on white snow with some trees and other foreground objects.

Image and Clip Storage

Images are stored on SD sized cards, although being Sony, there is still an option to use the long demised and completed unmissed Memory Stick options.  For my tests, I was using a Sandisk Extreme Pro card and had no issues at all.  The card inserts into a front facing slot by opening a door on the right side.  This makes it very easy to change cards if the camera is on a tripod or used with the optional vertical grip.  (It's really a battery grip of course but marketing loves to name things differently).

All major processing software has already been updated to read Sony's ARW RAW format, so opening the files was no trouble at all.  I did discover to my chagrin that the camera came complete with pets, several cat sized dust spots on the sensor.  I was able to correct these in post processing, but it serves to remind owners that there is nothing in front of the sensor when the lens is not mounted.  I was able to use a blower and an ArcticBrush to clean the sensor quickly.

There are programmable buttons on the camera but to my pleasure you don't trip over hundreds of them.  This keeps things simple and easy to use.  I shot all morning outside while wearing gloves and at no time did I need to remove them to alter a setting.  So even though I personally find the buttons very small, they are very usable.

ISO Performance

In order to make test shots at different ISOs I mounted the camera to a Manfrotto ball head on a Manfrotto magic arm on my studio stand.  I was pleased to see that unlike some competitors, the tripod socket is all metal and very sturdy.  While there are not many lenses yet in the FE mount, if Sony really wants this line to launch, they are going to need more glass, and longer glass in short order.

Thinking of ISO, I shot the camera outdoors for a bit in AUTO ISO shooting in all of Program, Aperture Preferred, Shutter Preferred and Manual modes.  The software is well programmed to seek the lowest viable ISO but not at the expense of diminished stability.  When I came back inside, I set the camera on the studio stand to photograph my ever patient model Sondra at a variety of ISOs and was very pleased to see that the A7 holds together very well to ISO 6400, is quite good at ISO 12800 and only really falls apart at ISO 25600.  It's not a Nikon Df or Canon 1Dx from a low light capability but is a very solid performer.  I've put a gallery of the same shot up from ISO 50 to ISO 25600 so you can see for yourself.

Connectivity

Sony makes software available to download your photos direct from the camera, and to convert the RAW format if you don't have a more sophisticated editing application.

They offer a tethering application, although they call it Remote Control that works over USB.  The cable that comes with the camera is VERY short, so you'll need to purchase a USB extension if you want to use the factory supplied cable.  Since the camera side connector is a Micro USB, you may had some difficulty finding long cables of this type.

There is a micro HDMI out, and if you wish to use it, you'll need to go source your own cable.  I did not have one and so did not test streaming through the HDMI port.

There is as one would hope a ⅛" mini jack for an external microphone but there is also a headphone jack, a feature sorely missing on most cameras and critical for audio monitoring when shooting video.

The camera has GPS capability as well as built in wireless.  I could get the wireless to connect to my private wireless network easily and also used it's self-generating network to push images to the Play Memories app on the iPhone.

Although I downloaded and appeared to be able to configure wireless image transfer to the Mac, the image transfer never worked and a perusal of forums suggests others have had difficulty making this work.  I will not hammer Sony for this as I am running a not yet final release of OS X on my Macs.

Sony does think that they are a software company.  I would suggest that they hire a good UI company as their software is neither intuitive nor user-friendly.  I did not discover it trying to open ports and phone home so it would appear that they have learned from past offences.

The camera also incorporates NFC but I was not able to test this function.

What About the Video?

The A7 thinks video out of the gate.  Sony "gets" video and the availability of zebra stripes and focus peaking for stills as well as video is just a bonus for me.  Resolutions go from 640x480 up to 1920x1080 with frame rates of 24p, 30p, 60i and 60p.  Also very cool is that it can push video at up to 24MBps, BluRay levels.

Once there is a wider pantheon of high quality primes for this mount, I can see the A7 being very successful in cinema as a B roll camera, or as a great tool for the hybrid user.

Pros

• Great size and weight
• Full frame sensor
• Fast autofocus
• Decent control layout
• Very good image quality
• Excellent low light / high ISO performance
• Excellent EVF
• Useful auto bracketing sequences
• Great video

Cons

• Battery charge time / lack of external battery charger
• Placement of strap lugs and rings
• Legibility of rear LCD in bright light
• Kit lens has limited focal length flexibility, optically slow
• Battery life not optimal
• Extremely loud shutter
• Limited selection of full frame lenses

Who Is It For?

The ideal customer for the A7 is someone relatively new to interchangeable lenses but looking for full frame in a very flexible camera, but who also demands to keep the size and weight down.  The hybrid user, who wants both great stills and great video, will like the camera very much.

For those downsizing from a traditionally sized DSLR, the lack of lens options is a real show stopper.  The exception is the existing Sony owner with a load of A mount glass who with an adapter can use it on the A7.  With the adapter, I can also see the A7 as a credible second body to an A99.

Summary and Would I Buy One

I was excited to learn about the A7 when it was announced.  I thought that it would be the logical step up from the M43 Olympus OM-D with Sony's proven full frame sensor.  Plus Sony really understands video and I thought that this would be huge.  After using the camera, I do like it.  I find the automatic white balance to be off, pretty much all the time, and while I do carry a popup grey card with me, having to do so would be annoying.  The control layout is very usable and the EVF is very good.  I'm not nuts about the view from the rear LCD but I only use these for chimping most of the time and only use Live View for awkward positions.  Being mirror less I like that I can shoot video from the EVF.

The stills are good and Sony's Dynamic Range Optimization (DRO) does a decent enough job but I would more than likely keep it turned off and zone place my exposures anyway.  The lack of choice in lenses would be a showstopper for me and for the foreseeable future it's going to be long time coming.  At $2,000 for the body and 28-70, it is priced competitively against other entry full frames and the small size and low weight will make it compelling.

When I did my outside test shots I was wearing photographer's gloves and had the unit on a BlackRapid strap.  Even then those strap rings were constantly in the way.  If it were mine, they'd come off and be tossed out the window.  The placement of the lugs is horrible, and when I got inside, the discomfort made me put the camera on the Titan stand so I would not have to grind the lug into my hand in order to make a steady shot.  I'm also still extremely annoyed at the idiocy of requiring the battery to be in the camera for ¼ day to reach a full charge while plugged into the wall.  The external charger retails for about $60.  It should be in the box.  This is nickel and diming the customer on Sony's part and they need a swift kick in the kneecaps for being so shortsighted.

In the end, I like the A7.  But not enough to buy one.

Product Specifications (courtesy Sony)

Limited Warranty

• Software

  • Operating System Compatibility : Image Data Converter 4.0: Microsoft Windows® Vista® SP2, Windows® 7 SP1, Windows®8 (Pentium 4 or faster) Mac OS X (10.6-10.8) (Intel Core Solo/Core Duo/Core 2 Duo or faster) PlayMemories Home: Microsoft Windows® Vista® SP2, Windows® 7 SP1, Windows® 8 (Pentium III 800 MHz or faster; for playing/editing HD movies: Intel Core Duo 1.66 GHz or faster/Intel Core 2 Duo 1.66 GHz or faster, Intel Core 2 Duo 2.26 GHz or faster (AVC HD (FX/FH)) Mac OS X (10.6-10.8) (Intel Core Solo/Core Duo/Core 2 Duo or faster)
  • Supplied Software : Supplied Software: PlayMemories Home, Image Data Converter Version 4

• Advanced Features

  • Image Stabilization : Lens-based (where applicable)
  • Auto High Dynamic Range : Yes, (Auto Exposure Difference, Exposure difference Level (1-6 EV at 1.0 EV step), off)
  • Sweep Panorama : Horizontal (Wide / Standard), Vertical (Wide / Standard)
  • Anti Motion Blur : Yes
  • Shooting Tips : Yes
  • Intelligent Auto : Yes
  • Face Detection : On, Off, Face Registration, Face Selection; maximum eight faces detected
  • Priority Setting (for Face Detection) : Yes (eight faces max)
  • Smile Shutter™ technology : Smile shutter (selectable from 3 steps)
  • Superior Auto : Yes
  • Tracking Focus : Yes

• Camera

  • Camera Type : Interchangeable Lens Digital SLR camera
  • Lens Compatibility : Sony E-mount Full Frame, operation with Minolta / Konica Minolta Maxxum A-mount lenses confirmed via optional LA-EA3/LA-EA4 adaptor9
  • Lens Mount Type : Sony E-mount Full Frame

• • Color : Black

• Convenience Features

  • Media/Battery Indicator : Yes
  • Still Image Playback Options : Single (with or without shooting information, RGB histogram & highlight/shadow warning), 9/25-frame index view, Enlarged display mode (Maximum magnification L: 23.0x, M: 15.0x, S: 11.5x), Auto Review (10 / 5 / 2 sec, off), Image orientation (Auto / Manual / Off selectable), Slideshow, Panorama scrolling, Folder selection (Still / Date / MP4 / AVCHD), Forward / Rewind (Movie), Delete, Protect
  • Video Playback Options : Forward / Rewind (Movie)
  • Self Timer : Yes
  • Power Save Mode : Yes
  • Red-Eye Reduction : Yes
  • Erase/Protect : Yes
  • Multiple Language Display : Yes

• Drive System

  • Continuous Shooting Speed : Continuous shooting: Max. 2.5fps, Speed Priority Continuous shooting: Max. 5.0fps
  • Shutter Speeds : 1/8000 to 30 seconds, bulb
  • Self-timer : 2-sec. or 10-sec. delay,
  • Shutter Type : Electronically-controlled, vertical-traverse, focal-plane shutter
  • Drive Mode : Single shooting, Continuous shooting, Speed Priority Continuous shooting, Self-timer (10/2 sec delay selectable), Self-timer (Cont.) (10 sec. delay; 3/5 exposures selectable), Bracketing (Cont., Single, White Balance, DRO)

• Exposure System

  • D-Range Optimizer : Off, Dynamic Range Optimizer (Auto / Level (1-5)), Auto High Dynamic Range: Auto Exposure Difference, Exposure Difference Level (1.0-6.0 EV, 1.0 EV step)
  • Auto Exposure Lock : Available with AE lock button. Locked when shutter button is pressed halfway. Can be disabled from the Menu
  • Exposure Compensation : +/-5.0 EV (in 1/3 EV or 1/2 EV steps), with exposure compensation dial: +/-3.0 EV (in 1/3 EV steps)
  • Picture Effect(s) : 13 modes: Posterization (Color, B/W), Pop Color, Retro Photo, Partial Color (R, G, B, Y), High Contrast Monochrome, Toy Camera, Soft High-key, Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolor, Illustration
  • Exposure Settings : AUTO (iAUTO, Superior Auto), Programmed AE (P), Aperture priority (A), Shutter-speed priority (S), Manual (M), Scene Selection, Sweep Panorama, Movie
  • Scene Mode(s) : Portrait, Landscape, Macro, Sports Action, Sunset, Night Portrait, Night Scene, Hand-held Twilight, Anti Motion Blur
  • Metering Modes : Multi-segment, Center-weighted, Spot
  • Metering Sensitivity : EV 0 to 20 EV (at ISO100 equivalent, with F2.8 lens attached)
  • Metering : Advanced 1200-zone evaluative metering
  • ISO : Still images: ISO 100-25600 (ISO numbers up from ISO 50 can be set as expanded ISO range), AUTO (ISO 100-6400, selectable lower limit and upper limit) Movies: ISO 200-25600 equivalent, AUTO (ISO 200-6400 equivalent)
  • Noise Reduction : Long exposure NR: On/Off, available at shutter speeds longer than 1 sec., High ISO NR: Normal / Low / Off selectable
  • Creative Style : Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia (Contrast -3 to +3 steps, Saturation -3 to +3 steps, Sharpness -3 to +3 steps)
  • Color Temperature : 2500 – 9900K with 15-step each Magenta/Green compensation (G7 to M7), Amber/Blue (A7 to B7), Custom
  • White Balance Mode : Auto WB / Daylight / Shade / Cloudy / Incandescent / Fluorescent (Warm White / Cool White / Day White / Daylight) / Flash / Color Temperature (2500 to 9900K) & Color Filter (G7 to M7: 15 steps, A7 to B7: 15 steps) / Custom / Underwater
  • Exposure Bracketing : With 3 frames in 1/3 EV, 1/2 EV, 2/3 EV, 1.0 EV, 2.0 EV or 3.0 EV increments. With 5 frames in 1/3 EV, 1/2 EV or 2/3 EV increments

• Flash

  • Flash Bracketing : With optional external flash: 1/3, 1/2, 2/3, 1, 2, 3 EV steps, 3/5 frames (1.0/2.0/3.0 EV: only 3 frames) selectable
  • Flash Metering System : With optional external flash: Pre-flash TTL
  • Flash Compensation : With optional external flash: ±3.0 EV (switchable between 1/3 and 1/2 EV steps)
  • Flash Modes : With optional external flash: Flash off, Auto flash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction (On/Off selectable), Hi-speed sync, Wireless
  • Flash Coverage : With optional external flash: 16 mm (focal length printed on lens body)
  • Flash Type : Optional external flash

• Focus Control

  • Focus Features : Lock-on AF, Eye AF, Predictive control, Focus lock, Eye-start AF (only available with optional LA-EA2 or LA-EA4 attached), AF illuminator (built-in, LED type, range: Approx. 0.30-3m, AF micro adjustment, AF ON
  • Manual Focus Assist : 35mm full frame: 7.2x, 14.4x APS-C: 4.7x, 9.4x
  • AF Illuminator : Yes (with built-in LED type)
  • Focus Sensitivity : EV 0 to 20 EV (at ISO100 equivalent, with F2.8 lens attached)
  • Focus Area : Multi Point (25 points) / Center-weighted / Flexible Spot (S/M/L) / Zone
  • Focus Points : 117 points (phase-detection AF), 25 points (contrast-detection AF)
  • AF Modes : Single-shot AF (AF-S), Continuous AF (AF-C), Direct Manual Focus (DMF), Manual Focus
  • Focus System : Fast Hybrid AF (phase-detection AF / contrast-detection AF)

• Imaging Sensor

  • Pixel Gross : 24.7 Megapixels (approx.)
  • Color Filter System : RGB primary color filters
  • Effective Picture Resolution : 24.3 Megapixels (approx.)
  • Anti Dust : Charge protection coating on optical filter and ultrasonic vibration mechanism
  • Imaging Sensor : Exmor CMOS sensor (35.8 x 23.9mm)
  • Processor : BIONZ® X image processor

• Interface

  • NFC : Yes (NFC Forum Type 3 Tag compatible, One-touch remote, One-touch sharing)
  • DC IN : Yes via optional AC-PW20AM (sold separately)
  • Memory Card Slot : Memory Stick PRO Duo, Memory Stick PRO-HG Duo, Memory Stick XC-HG Duo, SD memory card, SDHC memory card (UHS-I compliant), SDXC memory card (UHS-I compliant)
  • HD Output : HDMI® Type D micro connector
  • Accessory Shoe : Yes, via Multi Interface Shoe
  • A/V Remote Terminal : Yes, via Multi Terminal interface
  • PictBridge Compatible : Yes
  • Tripod Mount : Yes, 1/4" (20 thread count)
  • Remote Commander : Yes, via optional RM-VPR1
  • PhotoTV HD : Yes, with BRAVIA Sync enabled HDTV and HDMI® cable
  • USB Port(s) : USB 2.0 Hi-speed (mass-storage, MTP)
  • BRAVIA® Sync™ : Yes, via HDMI® with compatible BRAVIA HDTV (link menu)8
  • Multi Interface Shoe : Yes
  • Headphone Jack : Yes
  • Microphone Input : Yes

• Interface

  • • Wired : Yes, via optional RM-VPR1

• LCD Display

  • Peaking : Yes (Level setting: High / Mid / Low / Off, Color: White / Red / Yellow)
  • Real-time image adjustment display : Yes (On / Off)
  • LCD Type : 3.0” (7.5cm) TFT LCD (921,600 dots) with tiltable design
  • Coverage : 100%
  • Histogram : Yes (On / Off)
  • Live View : Continuous Live View
  • Brightness Control : Manual (5 steps between -2 to +2), Sunny Weather mode
  • Grid Display : Graphic Display / Display All Info. / No Disp. Info. / Histogram / Digital Level Gauge / Shooting information for viewfinder mode
  • Customization : Grid, Histogram display, Digital Level Gauge, Grid Line, Magnified display for playback

• Lens compensation

  • Lens compensation : Peripheral Shading, Chromatic Aberration, Distortion

• Optics/Lens

  • Direct Manual Focus : Yes
  • Lens Type : Sony E-mount Full Frame
  • Digital Zoom : Yes, approx. 4x
  • Lens Mount Type : Sony E-mount Full Frame
  • EV Compensation : +/-5.0 EV (in 1/3 EV or 1/2 EV steps), with exposure compensation dial: +/-3.0 EV (in 1/3 EV step)
  • Exterior Finish : Black

• Power

  • Battery Type : InfoLITHIUM® NP-FW50 (7.2V)
  • Power Requirements : One rechargeable battery pack (NP-FW50)
  • Number of Still Images : Approx. 340 images with LCD monitor (CIPA standard)7
  • Battery Capacity : 1080 mAh

• Power

  • • External power : Yes via optional AC-PW20AM (sold separately)

• • Compatible standards : Exif Print, Print Image Matching III, DPOF setting

• Recording

  • Panorama Still Image Size : Horizontal Wide: 12,416 x 1,856 (23M) Horizontal Std.: 8,192 x 1,856 (15M) Vertical Wide: 2,160 x 5,536 (12M) Vertical Std.: 2,160 x 3,872 (8.4M)
  • Video Resolution : AVCHD™: PS - 1920 x 1080/60p@28Mbps FX - 1920 x 1080/60i@24Mbps FH - 1920 x 1080/60i@17Mbps FX - 1920 x 1080/24p@24Mbps FH - 1920 x 1080/24p@17Mbps MP4: HD - 1440 x 1080/30p@12Mbps VGA - 640 x 480/30p@3Mbps
  • Audio Format : Dolby Digital (AC-3) / MPEG-4 AAC-LC
  • Video Mode : AVCHD format Ver. 2.0 compliant / MP4
  • Color Space : Still: sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS™ Color Movie: xvYCC standard (x.v.Color™ when connected via HDMI cable) compatible with TRILUMINOS™ color
  • Still Image Size 16:9 : 35mm full frame: L: 6000 x 3376 (20M), M: 3936 x 2216 (8.7M), S: 3008 x 1688 (5.1M) APS-C: L: 3936 x 2216 (8.7M), M: 3008 x 1688 (5.1M), S: 1968 x 1112 (2.2M)
  • Still Image Size 3:2 : 35mm full frame: L: 6000 x 4000 (24M), M: 3936 x 2624 (10M), S: 3008 x 2000 (6.0M) APS-C: L: 3936 x 2624 (10M), M: 3008 x 2000 (6.0M), S: 1968 x 1312 (2.6M)
  • Still Image Mode : RAW, RAW & JPEG, JPEG Extra fine, JPEG Fine, JPEG Standard
  • Media Type : Memory Stick PRO Duo, Memory Stick PRO-HG Duo, Memory Stick XC-HG Duo, SD memory card, SDHC memory card (UHS-I compliant), SDXC memory card (UHS-I compliant)
  • Still Image Max Effective Resolution : 24.3 Megapixels
  • Video Signal : NTSC color, EIA standards
  • Microphone/Speaker : Built-in stereo microphone or ECM-CG50 / XLR-K1M (sold separately) / Built-in monaural speaker; volume settings in 8 steps between 0 and 7
  • Still Image File Format : JPEG (DCF Ver. 2.0, Exif Ver.2.3, MPF Baseline compliant), RAW (Sony ARW 2.3 format)

• • 14bit RAW : Yes

• Service and Warranty Information

  • Limited Warranty Term : 1 Year Parts & Labor

• Viewfinder

  • Display : Disp. Basic Info, Histogram
  • Brightness Control : Auto / Manual (3 steps between -1 and +1)
  • Type : 1/2-inch (1.30 cm) XGA OLED color electronic viewfinder
  • Field of View : 100%
  • Magnification : Approx. 0.71x with 50 mm lens at infinity, -1m-1 (diopter)
  • Diopter Adjustment : -4.0 m-1 ~ +3.0m-1 (diopter)

• Weights and Measurements

  • Weight(Approx) (Main unit only) : Approx. 14.7 oz. (416 g)
  • Dimensions (Approx.) : Approx. 5 × 3-3/4 × 1-15/16” (126.9 x 94.4 x 48.2 mm) (W/H/D) excluding protrusions
  • Weight (Approx.) : With battery and Memory Stick PRO Duo Approx. 1 lb. 0.7 oz. (474 g)

• Wi-Fi

  • PlayMemories Camera Apps : Yes
  • View on TV : Yes
  • Send to Computer : Yes
  • View on Smartphone : Yes

Review : The Nikon Df

I'd read about the Nikon Df and been intrigued by the Nikon ad series entitled Pure Photography.  What does this mean and what makes the Df "pure".  With thanks to Chris Atkinson, Manager of Henry's Newmarket, I was able to obtain a short term evaluation unit to find out.First Grip Putting hands on the Df is a nominally different experience.  I'm still not clear on what the purity angle is, but I will say that the Df feels more like an old style film camera than most digital single lens reflexes.  In fact, it feels and looks like an old F3 High Eyepoint, a camera I remember with fondness.

Layout

What makes the Df different in user interface (UI) is that Nikon has gone heavy on the analog style dials and less on the digital programmable buttons.  For someone without the time or the inclination to study the novellas that now masquerade as owner's manuals, getting going with the Df is very fast.  Very fast if you are older as I am and have a history shooting film cameras.

The sensor is Nikon's 16.2 MP sensor, that Nikon says produces quality like the D4, tuned for low light performance.  At time of writing, the Df pushes the boundaries of high ISO in Nikon's line.  Like most Nikon full frames, the camera can be set to shoot in FX (full frame) mode and DX (crop sensor) mode.  I like the flexibility that this brings and encourage other full frame providers to copy this feature.

Shutter speeds are set by a dial on the top deck and have click stops starting at a high of 1/4000 and a low of 4s.  There are also settings for B (bulb), T (time) and X, for manual flash synchronization at 1/200.  There is also a setting for ⅓ Step which allows the shutter speed to move in ⅓ stop increments.  This feels a bit goofy but is I guess more "pure" than simply putting an A on the dial like everyone else does.  Concentric to the shutter speed dial is a lever that sets, single, continuous low, continuous high, quiet release, self timer and mirror up modes.  Quiet basically delays some of the shutter and mirror noise, it doesn't eliminate it.  I don't find the Df to be overly loud at any rate.  Sony should steal this feature for the A7 because you can hear that thing go off across a busy highway.  Maximum burst rate is 5.5fps.

Beside the shutter speed dial is the rotary on off switch which is pleasantly obvious and precise.  It wraps around an old style shutter button tapped for a screw in cable release.  Cool if you have one, but they are very scarce these days.  Right of the shutter release is the mode rotary switch offering PASM settings.  In a smart move, Nikon has not splattered the Df with pointless "scene" modes.  Don't confuse this with the plethora of Picture Styles that set the processing for JPEG images and for how the LCD renders the JPEG it shows in playback.  If this were my camera, I'd set and forget for 14bit uncompressed RAW and Picture Style Neutral and likely never change things for as long as I own it.  Purist, I guess.

Towards the rear of the top deck is a minuscule LCD panel and a button to illuminate it.  Given that the audience for the camera is likely a former film shooter, who may suffer from some presbyopia by now, this display is so tiny and hard to read that I would never bother trying to use it.

Move to the left side of the pentaprism.  This is a digital SLR, be clear, but the top deck is oriented like an old Nikon film camera, down to the ersatz film rewind, which of course rewinds nothing but holds the ⅓ stop incremented exposure compensation dial offering ±3 EV of adjustment.  Below this is a concentric ring that controls the ISO (nearly typed ASA there for a sec) showing a range from L1 to H4, with ISO numbers starting at 100 and going up to 12800.  Down from 100 is logical, going in ⅓ stop increments (80, 64, 50) but going up from 12800 goes ⅓ stops to 25600, then a full stop to 51200, then 102400 and ending at 204800.

On the right front of the camera is a rotary wheel that controls the aperture in Aperture preferred and manual mode.  It is disabled in shutter preferred and program mode.  Below this are two buttons, the upper one providing depth of field preview and the second is a programmable function button.  On the left front of the lens mount is a bracket button, a very nice feature to have set up this way.  On the front face is a classic PC X sync port under the old style screw on cap.  Either never take this off or expect to lose it in the first week.  There is also an old style flashing LED self timer lamp.  Below this is the lens release and then an AF/M focus selector on the lens mount frame as is typically found on higher end Nikons.

The lens mount itself accepts AF-S and Nikkor AI lenses, but if you do have some really old Nikkor glass with the old style key slot, there is a fold down lever to engage the aperture ring ledge that existed then.  There is no ball lever as used to engage the keyslot on a photomic prism, but that may be a bit too "pure".

The front also has a decent enough finger ledge style grip.  So overall the layout so far is quite good.  With one exception.  The position of the strap lugs is perfect to ensure that the strap is going to get in the way of your fingers when they want to accomplish anything.  yes the lugs are where they were on classic Nikon F cameras, but those cameras did not have buttons and dials on the front face and the lugs get in the way.  If I were a buyer, I would personally ask Nikon service to remove them entirely and use a strap that attaches to the tripod socket, these lugs are that annoying.  To me anyway.

Moving to the back, the optical viewfinder is big and high and bright.  The interior layout is pretty basic and folks used to the viewfinder displaying a bundle of focus points are in for disappointment.  Since I only ever use the centre point and then recompose, I like the absence of clutter.  Digital readouts are easy to see and understand.  There is sufficient range on the dioptric adjustment to accommodate most everyone.

The rear panel is where the "film purity" analogy runs off the road into the trees.  It's like the back of any Nikon digital camera, with a decent enough 3" LCD with 920K dots, buttons and wheels all as you would expect out of a D610 or similar.

The right side has no doors or panels.  It should, but doesn't as you'll see later when I start ranting.

The left side has three pop open plastic doors.  They are connections for USB (Type C), Mini HDMI and Remote Control respectively.

The bottom plate has a ¼-20 tripod socket with Nikon's standard rubber grip pad around it.  Hopefully Nikon has found an adhesive that works for this because most Nikons that I have seen under medium to heavy use have this pad peeling off.  You'll find a large removable battery door that gives you access to the very small EN-EL14A battery.  There's certainly sufficient space for a higher capacity battery or would be if Nikon hadn't made the truly idiotic decision to put the SD card slot in beside the battery.  They could have put it on the right side where it would always be easily accessible, but no, they buried it in the battery compartment.  Someone needs a beating for this.  Nikon provides no guidance on the number of exposures to expect from a full charge.

You'll note that I have said nothing about video.  That's because the Df doesn't do video at all, even though it has a perfectly functional HDMI out.  I guess that means that video is not pure in the minds of the designers.

The Df has a Nikon i-TTL capable hotshoe, but in another idiot award winning step, they have completely left out the Creative Lighting System functionality that helps make Nikon cameras so very usable when you control the light.  I think of the magical unicorn of photography, Mr. Joe McNally, and can only assume that he would see this as missing and hand the darn thing back and in his gentle Irish-American way suggest that Nikon try again.  I don't know that he would actually do that but I will.  This is a stupid mistake and hopefully Nikon figures out a way to put CLS in via firmware update.

Looking at the accessory page, there is a big gap in battery life extension.  Yup, no battery grip is presently available.  The F3 or the older F2AS took monster battery grips for long life and you could use them as a bludgeon if you desperately needed to get away from bad guys.

The camera offers the standard metering choices of matrix, centre weighted average and spot, controlled by a tiny rocker on the back.  And although there is no video support, there is Live View so you can use your $3000 camera like a $100 point and shoot.

The "Kit" Lens

The Df comes as a kit with a 50mm f/1.8 AF-S Nikkor.  It's the same as the 50/1.8 AF-S Nikkor that has been around for years except the cosmetics have been changed to make it look like an old 50/1.8 AI.  It's not an AI, it's the same plastic barrel as the black 50/1.8 sold as a "portrait" lens by people who don't know what they hell they are talking about for years.

Usability

Despite my kvetching about the strap lugs position and the major missings, I surprised myself by how much I like shooting the camera.  There's nothing that makes it better than anything but it feels really good, although it would feel a lot better with a battery grip.  I love the optical viewfinder simplicity and I am very comfortable with the clicky mechanical feel of the shutter release.  It's not mechanical of course, but it feels like it could be.

The menu system is the same as what you would see on other prosumer Nikons, meaning it's a love or hate situation.  I don't shoot Nikon habitually at this time so my peers who do will loudly vent about user modes and the like.  I'm just really pissed that there is no CLS.  TTL radio controls from third parties are not winners in general, and while there are limits to infrared, most important being that it is line of sight (unless you are the aforementioned Joe McNally who makes infrared go around corners and up and down stairs) but it's a lot better than having to buy someone else's product and then curse it when it lets you down.  And yes, I am speaking specifically about Pocket Wizard TT1 and TT5 units.

I am a left eyed photographer and the back button focus is placed perfectly for me.  It's big enough you know when you have found it and the throw is enough that there is no question it is engaged.

Of course the Df mounts up all manner of Nikon glass.  If I were going this route, I'd likely grab a fast 35mm instead of the dopey 50mm, along with a nice 105mm and head out to the street.  Unfortunately, there is nothing subtle about the Df.  It's not small or unobtrusive.  Folks will know you have a camera.  Older ones might think you are shooting film, but if they don't want a candid taken, you aren't going to fool them anyway.

ISO Performance

My friend Ron Clifford (of Google + Photoshop Show fame) specifically asked about the high ISO performance because he heard it was amazing and in my initial look, I spent no time on this.  Ron's a great guy so I did a series of shots of Sondra using the Df with the 50mm at a variety of ISOs.  I was down to the wire to return it, so there are no prize winners here, but I think that you'll be impressed.  Ok it falls apart pretty badly at ISO 204800 but really there's nothing to complain about here.

Who's This Made For?

So about the price...

For $3,000 you get the Df body, the cheap ass 50mm, a strap, the battery a charger and not much else.  With careful shopping you could get a similarly configured D800 with the same dopey 50mm for the same money.  In terms of sensor capability, card capacity and additional functionality the D800 blows the Df into the weeds.  If you don't need the monster megapixels of the D800 you could again probably find a D610 and "nifty fifty"  <grrr> for about $1,000 less.  Why would you spend more to get less?  Well perhaps you have a real and perhaps medically treatable affection for all analog dials, except for the digital menu system and back controls.  Perhaps it's worth $1,000 to you to look like an old film photographer. (Hint - you can actually BE an old film photography for a couple of grand less - F3 and FM2 bodies are cheap now).  Perhaps you have too much money.  Perhaps you are a poseur.  Nope, not the last one because poseurs wouldn't be reading what I write.  The Df would be AWESOME if you could buy the body for $1,500 and then choose a real lens to put on it, and if you want the 50mm then that's your call.  I would go for the awesome Nikkor 35/1.4 but that's me.

Which brings us to who this camera is for.  Truth to tell, I don't know.  It's price makes it a high ticket item, not stupid high ticket like the Hasselblad labeled Sony A99, but high ticket regardless.  It is capable of great images and has terrific low light capability so it should be "the photographer's digital", but it brings nothing not already found in the excellent D610 or D800 except looks.  Are vintage looks worth an extra $1,000?  Not to me, and according to the sales numbers, not in general either.

Summary

Pros

• Feels really good in the hands, especially if you have a fondness for old Nikon F body pro cameras
• Great viewfinder
• Terrific analog style control layout
• Intelligently position depth of field preview
• Useful bracketing button
• Amazing high ISO performance

Cons

• Price that's too freaking high
• Idiotic card slot placement
• No CLS
• Limited accessories, specifically no battery grip
• Did I mention no CLS
• No video (even if you'll never use it, like 95% of DSLR owners, it is 2014 people)

So would I buy one,if I were in the market?  The answer is no.  The Df is, for me, a case of "so close, but not close enough".  I know the image quality is excellent.  It's the D4 sensor, which is proven globally.  Top line Nikkor glass is superlative, as good as anything in the market and better than many.  I found I really like the controls and was functional with the Df faster than I have been with any digital camera, but that's because I started shooting film when I was ten on a Minolta SR-3 so film camera layouts are stored in my brain.  I do still shoot film, albeit only 4x5 and 6x7, and if I wanted the look of a film camera, I still have that SR-3 as well as too many bags of film bodies and lenses.  Digital is very empowering but the Df has too many limitations for my use cases, and the price is stupid.  Some dolt in Marketing must think that serious photographers are complete fools to believe that there is a market for a feature disabled $1500 digital body sold for $3000.

If Nikon were to accept that they screwed up and dropped the body only price under $1500, this unit would sell.  At it's current feature set / price point, it's gonna be a dust collector.

Specifications (Courtesy Nikon USA)

Nikon Digital SLR Camera Df Specifications

Type
Type	Single-lens reflex digital camera
Lens mount	Nikon F mount (with AF coupling and AF contacts)
Effective angle of view	Nikon FX format
Effective pixels
Effective pixels	16.2 million
Image sensor
Image sensor	36.0 x 23.9 mm CMOS sensor
Total pixels	16.6 million
Dust-reduction system	Image sensor cleaning, Image Dust Off reference data (optional Capture NX 2 software required)
Storage
Image size (pixels)	FX format (36x24): 4,928 x 3,280 [L], 3,696 x 2,456 [M], 2,464 x 1,640 [S] DX format (24x16): 3,200 x 2,128 [L], 2,400 x 1,592 [M], 1,600 x 1,064 [S]
File format	NEF (RAW): 12 or 14 bit, lossless compressed, compressed, or uncompressed TIFF (RGB) JPEG: JPEG-Baseline compliant with fine (approx. 1:4), normal (approx. 1:8) or basic (approx. 1:16) compression (Size priority); Optimal quality compression available NEF (RAW)+JPEG: Single photograph recorded in both NEF (RAW) and JPEG formats
Picture Control System	Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Control can be modified; storage for custom Picture Controls
Media	SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards
File system	DCF (Design Rule for Camera File System) 2.0, DPOF (Digital Print Order Format), Exif (Exchangeable Image File Format for Digital Still Cameras) 2.3, PictBridge
Viewfinder
Viewfinder	Eye-level pentaprism single-lens reflex viewfinder
Frame coverage	FX (36x24): Approx. 100% horizontal and 100% vertical DX (24x16): Approx. 97% horizontal and 97% vertical
Magnification	Approx. 0.7x (50 mm f/1.4 lens at infinity, -1.0 m-1)
Eyepoint	15 mm (-1.0 m-1; from center surface of viewfinder eyepiece lens)
Diopter adjustment	-3 to +1 m-1
Focusing screen	Type B BriteView Clear Matte Mark VIII screen with AF area brackets (framing grid can be displayed)
Reflex mirror	Quick return
Depth-of-field preview	Pressing Pv button stops lens aperture down to value selected by user (exposure modes A and M) or by camera (exposure modes P and S)
Lens aperture	Instant return, electronically controlled
Lens
Compatible lenses	Compatible with AF NIKKOR lenses, including type G, E, and D lenses (some restrictions apply to PC lenses) and DX lenses (using DX 24 x 16 1.5x image area), AI-P NIKKOR lenses and non-CPU lenses. IX NIKKOR lenses and lenses for the F3AF cannot be used. The electronic rangefinder can be used with lenses that have a maximum aperture of f/5.6 or faster (the electronic rangefinder supports the center 7 focus points with lenses that have a maximum aperture of f/8 or faster and the center 33 focus points with lenses that have a maximum aperture of f/7.1 or faster)
Shutter
Type	Electronically controlled vertical-travel focal-plane shutter
Speed	1/4,000 to 4 s in steps of 1 EV (1/4,000 s to 30 s in steps of 1/3 EV with main command dial), X200 (with shutter-speed dial only), bulb, time
Flash sync speed	X=1/200 s; synchronizes with shutter at 1/250 s or slower
Release
Release modes	S (single frame), CL (continuous low speed), CH (continuous high speed), Q (quiet shutter-release),  (self-timer), MUP (mirror up)
Frame advance rate	1 to 5 fps (CL) or 5.5 fps (CH)
Self-timer	2 s, 5 s, 10 s, 20 s; 1 to 9 exposures at intervals of 0.5, 1, 2 or 3 s
Exposure
Metering	TTL exposure metering using 2,016-pixel RGB sensor
Metering method	Matrix: 3D color matrix metering II (type G, E and D lenses); color matrix metering II (other CPU lenses); color matrix metering available with non-CPU lenses if user provides lens data Center-weighted: Weight of 75% given to 12-mm circle in center of frame; diameter of circle can be changed to 8, 15 or 20 mm, or weighting can be based on average of entire frame (non-CPU lenses use 12-mm circle) Spot: Meters 4-mm circle (about 1.5% of frame) centered on selected focus point (on center focus point when non-CPU lens is used)
Range (ISO 100, f/1.4 lens, 20°C/68°F)	Matrix or center-weighted metering: 0 to 20 EV Spot metering: 2 to 20 EV
Exposure meter coupling	Combined CPU and AI (collapsible metering coupling lever)
Exposure modes	Programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M)
Exposure compensation	-3 to +3 EV in increments of 1/3 EV
Exposure bracketing	2 to 5 frames in steps of 1/3, 2/3, 1, 2 or 3 EV
Flash bracketing	2 to 5 frames in steps of 1/3, 2/3, 1, 2 or 3 EV
Exposure lock	Luminosity locked at detected value with AE-L/AF-L button
ISO sensitivity (Recommended Exposure Index)	ISO 100 to 12800 in steps of 1/3 EV; can also be set to approx. 0.3, 0.7 or 1 EV (ISO 50 equivalent) below ISO 100 or to approx. 0.3, 0.7, 1, 2, 3 or 4 EV (ISO 204800 equivalent) above ISO 12800; auto ISO sensitivity control available
Active D-Lighting	Can be selected from Auto, Extra high +2/+1, High, Normal, Low, or Off
ADL bracketing	2 frames using selected value for one frame or 3 to 5 frames using preset values for all frames
Focus
Autofocus	Nikon Multi-CAM 4800 autofocus sensor module with TTL phase detection, fine-tuning, and 39 focus points (including 9 cross-type sensors; the center 33 points are available at apertures slower than f/5.6 and faster than f/8, while the center 7 focus points are available at f/8)
Detection range	-1 to +19 EV (ISO 100, 20°C/68°F)
Lens servo	Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); predictive focus tracking activated automatically according to subject status Manual focus (M): Electronic rangefinder can be used
Focus point	Can be selected from 39 or 11 focus points
AF-area modes	Single-point AF, 9-, 21- or 39-point dynamic-area AF, 3D-tracking, auto-area AF
Focus lock	Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button
Flash
Flash control	TTL: i-TTL flash control using 2,016-pixel RGB sensor is available with SB-910, SB-900, SB-800, SB-700, SB-600, SB-400 or SB-300; i-TTL balanced fill-flash for digital SLR is used with matrix and center-weighted metering, standard i-TTL flash for digital SLR with spot metering
Flash modes	Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, Auto FP High-Speed Sync supported
Flash compensation	-3 to +1 EV in increments of 1/3
Flash-ready indicator	Lights when optional flash unit is fully charged; flashes after flash is fired at full output
Accessory shoe	ISO 518 hot-shoe with sync and data contacts and safety lock
Nikon Creative Lighting System (CLS)	Advanced Wireless Lighting supported with SB-910, SB-900, SB-800 or SB-700 as a master flash and SB-600 or SB-R200 as remotes, or SU-800 as commander; Auto FP High-Speed Sync and modeling illumination supported with all CLS-compatible flash units except SB-400 and SB-300; Flash Color Information Communication and FV lock supported with all CLS-compatible flash units
Sync terminal	ISO 519 sync terminal with locking thread
White balance
White balance	Auto (2 types), incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade, preset manual (up to 4 values can be stored, spot white balance measurement available during live view), choose color temperature (2,500 K to 10,000 K); all with fine-tuning
White balance bracketing	2 to 3 frames in steps of 1, 2 or 3
Live View
Lens servo	Autofocus (AF): Single-servo AF (AF-S); full-time servo AF (AF-F) Manual focus (M)
AF-area modes	Face-priority AF, wide-area AF, normal-area AF, subject-tracking AF
Autofocus	Contrast-detect AF anywhere in frame (camera selects focus point automatically when face-priority AF or subject-tracking AF is selected)
Monitor
Monitor	8-cm (3.2-in.), approx. 921k-dot (VGA), low-temperature polysilicon TFT LCD with approx. 170° viewing angle, approx. 100% frame coverage, and brightness control
Playback
Playback	Full-frame and thumbnail (4, 9 or 72 images or calendar) playback with playback zoom, photo slide shows, histogram display, highlights, photo information, location data display, and auto image rotation
Interface
USB	Hi-Speed USB
HDMI output	Type C mini-pin HDMI connector
Accessory terminal	Wireless remote controllers: WR-R10 and WR-1 (available separately) Remote cord: MC-DC2 (available separately) GPS units: GP-1/GP-1A (available separately)
Supported languages
Supported languages	Arabic, Chinese (Simplified and Traditional), Czech, Danish, Dutch, English, Finnish, French, German, Greek, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Norwegian, Polish, Portuguese (Portugal and Brazil), Romanian, Russian, Spanish, Swedish, Thai, Turkish, Ukrainian
Power source
Battery	One EN-EL14a Rechargeable Li-ion Battery
AC adapter	EH-5b AC Adapter; requires EP-5A Power Connector (available separately)
Tripod socket
Tripod socket	1/4 in. (ISO 1222)
Dimensions / weight
Dimensions (W x H x D)	Approx. 143.5 x 110 x 66.5 mm/ 5.6 x 4.3 x 2.6 in.
Weight	Approx. 765 g/1 lb 11 oz with battery and memory card but without body cap; approx. 710 g/1 lb 9 oz (camera body only)
Operating environment
Operating environment	Temperature: 0 to 40°C/32 to 104°F; humidity: 85% or less (no condensation)
Accessories
Supplied accessories (may differ by country or area)	EN-EL14a Rechargeable Li-ion Battery, MH-24 Battery Charger, DK-26 Eyepiece Cap, String for eyepiece cap, UC-E6 USB Cable, AN-DC9 Camera Strap, BF-1B Body Cap, BS-1 Accessory Shoe Cover, ViewNX 2 CD-ROM

• PictBridge is a trademark.
• The SD, SDHC and SDXC logos are trademarks of SD-3C, LLC.
• HDMI, the HDMI logo and High-Definition Multimedia Interface are trademarks or registered trademarks of HDMI Licensing, LLC.
• Products and brand names are trademarks or registered trademarks of their respective companies.
• Images in viewfinders, on LCDs and monitors shown in this site are simulated.

Memory card capacity

The following table shows the approximate number of pictures that can be stored on an 8 GB SanDisk Extreme Pro SDHC UHS-I card at different image quality, image size, and image area settings.

FX (36 x 24) image area*

Image quality	Image size	File size1	No. of images1	Buffer capacity2
NEF (RAW), Lossless compressed, 12-bit	-	15.4 MB	279	37
NEF (RAW), Lossless compressed, 14-bit	-	19.4 MB	216	29
NEF (RAW), Compressed, 12-bit	-	13.9 MB	377	47
NEF (RAW), Compressed, 14-bit	-	17.0 MB	315	38
NEF (RAW), Uncompressed, 12-bit	-	26.5 MB	279	30
NEF (RAW), Uncompressed, 14-bit	-	34.3 MB	216	25
TIFF (RGB)	Large Medium Small	49.1 MB 28.3 MB 13.2 MB	151 265 566	21 25 36
JPEG fine3	Large Medium Small	7.9 MB 5.4 MB 3.0 MB	729 1100 2200	100 100 100
JPEG normal3	Large Medium Small	4.5 MB 2.8 MB 1.6 MB	1400 2300 4300	100 100 100
JPEG basic3	Large Medium Small	2.2 MB 1.5 MB 0.9 MB	2800 4600 8000	100 100 100

• *Includes images taken with non-DX lenses when On is selected for Auto DX crop.

DX (24 x 16) image area*

Image quality	Image size	File size1	No. of images1	Buffer capacity2
NEF (RAW), Lossless compressed, 12-bit	-	7.2 MB	618	100
NEF (RAW), Lossless compressed, 14-bit	-	8.9 MB	484	96
NEF (RAW), Compressed, 12-bit	-	6.6 MB	818	100
NEF (RAW), Compressed, 14-bit	-	7.9 MB	692	100
NEF (RAW), Uncompressed, 12-bit	-	12.0 MB	618	72
NEF (RAW), Uncompressed, 14-bit	-	15.3 MB	484	53
TIFF (RGB)	Large Medium Small	21.5 MB 12.6 MB 6.2 MB	349 593 1100	29 39 69
JPEG fine3	Large Medium Small	3.7 MB 2.8 MB 1.9 MB	1500 2200 3600	100 100 100
JPEG normal3	Large Medium Small	2.3 MB 1.6 MB 1.1 MB	2900 4400 7100	100 100 100
JPEG basic3	Large Medium Small	1.2 MB 0.9 MB 0.7 MB	5700 8600 12100	100 100 100

• *Includes images taken with DX lenses when On is selected for Auto DX crop.
• 1All figures are approximate. File size varies with scene recorded.
• 2Maximum number of exposures that can be stored in memory buffer at ISO 100. Drops if optimal quality is selected for JPEG compression, NEF (RAW) photos are taken with ISO sensitivity set to Hi 0.3 or higher, or long exposure noise reduction or auto distortion control is on.
• 3Figures assume JPEG compression is set to Size priority. Selecting optimal quality increases the file size of JPEG images; number of images and buffer capacity drop accordingly.

Approved memory cards

The following SD memory cards have been tested and approved for use in the camera.

		SD memory cards	SDHC memory cards2	SDXC memory cards3
SanDisk		2 GB*1	4 GB, 8 GB, 16 GB, 32 GB	64 GB
Toshiba
Panasonic			4 GB, 6 GB, 8 GB, 12 GB, 16 GB, 24 GB, 32 GB	48 GB, 64 GB
Lexar Media			4 GB, 8 GB, 16 GB	-
	Platinum II		4 GB, 8 GB, 16 GB, 32 GB
	Professional
	Full-HD Video	-	4 GB, 8 GB, 16 GB

• 1Check that any card readers or other devices with which the card will be used support 2 GB cards.
• 2Check that any card readers or other devices with which the card will be used are SDHC-compliant. The camera supports UHS-I.
• 3Check that any card readers or other devices with which the card will be used are SDXC-compliant. The camera supports UHS-I.

Overview - Canon Rebel T5

Canon today announced the T5 to be available in March 2014.  Folks want to know who the audience is for this new DSLR.

Canon has had the T3 as their entry level DSLR for some time.  It had one compelling selling feature and that was that it had a very low price point.  But it is badly outdated so Canon has replaced it with the T5.  I find the naming confusing.  The T3 was regularly confused with the T3i, two completely different architectures.  The T5 is not related to the T5i either, except that it is a Canon.  It exists as a bridge between point and shoot and DSLR but at a price point that is hoped to make the transition easier.

The reality is that the T5 is not going to be a hot mover in photographic specialty stores.  It's designed to be sold in bulk at big box stores, to buyers who are pretty sure that they want a DSLR but are budget constrained and not prepared to go talk to a professional seller.  Professional photographic resellers only ever saw serious movement on the T3 as a low end entry at the holiday season and the rest of the time it gathers dust.

What's In the Device?

The T5 is a basic DSLR with the expected emphasis on automatic exposure and autofocus shooting as well as the capability for HD Video.  It uses an 18MP APS-C sensor and will work with all Canon EF-S and EF lenses.  Form factor looks the same as other DSLRs in the Rebel family.

The sensor is proven, the AF system is Canon's classic 9 AF point system, with the new feature to automatically switch between one shot and continuous AF.  The rear display is a dated 3" LCD with 460K dots.

Shutter speed range is 1/4000 to 30s and the ISO range is 100-6400 with a one stop push option.  There is a built-in pop up flash and there is eTTL flash metering.  Interestingly Canon does not list the 600 EX RT as a compatible flash.

There is no depth of field preview button and there is no ability to remotely trigger the camera via an IR port, since one does not exist.  There is no built-in WiFi or GPS.  Don't expect to use remote flash control from the camera either.

There is a burst mode capability rated at 3fps.  This is just fine for 95% of photographers not operating under "spray and pray" rules.

Given the marketplace, the camera is festooned with multiple scene modes, which are basically pre-defined setups to help people who don't want to go manual or semi-auto to get better portraits, landscapes and night shots amongst other settings.  (see the specs below for all the options).

So overall, it's exactly what Canon advertises it to be, an entry level DSLR with the primary driver being price.  Price with the 18-55 kit lens is expected to be $549.

Who Is It For?

The Canon T5 is a great first DSLR for people on a budget, young families who want better images of their newborns and for those who want to step up from smartphone/P&S snapshots to being able to create nice images.  In full auto, it's as easy to use as a smartphone or point and shoot, but will deliver significantly better images.  Match it with one of Canon's Selphy 910 printers and you've got a great web / 4x6 print operation for low dollar investment.

It's not for the serious photographer or videographer, the runway for those people is too short with this product.

Where To Buy

All major photographic resellers will have the camera because their Canon reseller agreement will require it.  I expect to see the camera in the big box and warehouse stores where the T3 sold effectively and also on the shopping channels and as a prize in points award systems.

Conclusions

There's nothing intrinsically wrong with the T5.  It should be a decent value, but there is nothing spectacularly new here either.  It's a price point driven product.  If the size isn't a stopper, then the image capability will blow all the point and shoots away.  There are Compact System Cameras (mirror less) at this price point and less that have equivalent capability in a smaller body (but not from Canon who don't understand this space).  They have a size and weight benefit, but don't look like "a real camera" (not my words - what I hear in stores).  The T5 creates an entry point to Canon and 3rd party glass, but that's not a really credible argument to purchase.  The price is high enough not to degrade the marketplace for used Rebels, but feature for feature, the price differential pretty much puts a nail gun to the T3i.  Also not a bad thing, because while the T3i is an excellent product, it is getting long in the tooth and producing accusations of failure to innovate at the price point level.

There are construction decisions that Canon has made to keep the cost of the unit down, but I am annoyed when I see any manufacturer disable functions in software to create model differentiation.  It's the same operating system and the same chipset.  Too many choices create confusion in the buyer.  Canon is hardly the worst offender in this regard, and this is a personal peeve and should not dissuade the buyer who determines that the T5 fits his or her use cases.

Specifications (Courtesy Canon USA)

Type Digital, AF/AE single-lens reflex camera with built-in flash

Recording Media SD/SDHC/SDXC card, via external media (USB v.2.0 hard drive, or via Wireless LAN (Eye-Fi card*))

Image Format Approx. 22.3mm x 14.9mm

Compatible Lenses Canon EF lenses including EF-S lenses (35mm-equivalent focal length is approx. 1.6x the lens focal length)

Lens Mount Canon EF mount

Image Sensor

Type High-sensitivity, high-resolution, large single-plate CMOS sensor

Pixels Effective pixels: Approx. 18.00 megapixels Total pixels: Approx. 18.70 megapixels

Pixel Unit 4.3 µm square

Aspect Ratio 3:2 (Horizontal : Vertical)

Color Filter System RGB primary color filters

Low Pass Filter Fixed position in front of the CMOS sensor

• Fluorine coating on the top surface.

Dust Deletion Feature (1) Manual cleaning (2) Dust Delete Data acquisition and appending

• The coordinates of the dust adhering to the low-pass filter are detected by a test shot and appended to subsequent images.
• The dust coordinate data appended to the image is used by the provided software to automatically erase the dust spots.
• Self Cleaning Sensor Unit not included.

Recording System

Recording Format Design rule for Camera File System 2.0 and Exif 2.30

File Size (1) Large: Approx. 17.90 Megapixels (5184 x 3456) (2) Medium: Approx. 8.00 Megapixels (3456 x 2304) (3) Small 1: Approx. 4.50 Megapixels (2592 x 1728) (4) S2: Approx. 2.50 Megapixels (1920 x 1280) (5) S3: Approx. 0.35 Megapixels (720 x 480) (6) RAW: Approx. 17.90 Megapixels (5184 x 3456) Exact file sizes depend on the subject, ISO speed, Picture Style, etc.

File Numbering Consecutive numbering, auto reset, manual reset

RAW + JPEG Simultaneous Recording Provided (RAW + JPEG)

Color Space sRGB, Adobe RGB

Picture Style Standard, Portrait, Landscape, Neutral, Faithful, Monochrome, User Defined 1-3

White Balance

Auto White Balance Auto white balance with the image sensor

Color Temperature Compensation White balance correction: ±9 levels

White balance bracketing: ±3 levels in single-level increments

Blue/amber direction or magenta/green direction possible

Color Temperature Information Transmission Provided

Viewfinder

Type Eye-level SLR (with fixed pentamirror)

Coverage Vertical/Horizontal approx. 95%

Magnification Approx. 0.8x / 22.4° (with 50mm lens at infinity, -1 m-1 (dpt))

Eye Point Approx. 21 mm (At -1m-1 from the eyepiece lens center)

Dioptric Adjustment Correction Adjustable from approx. -2.5 to +0.5 m-1 (dpt)

Focusing Screen Fixed

Mirror Quick-return half mirror (transmission: reflection ratio of 40:60)

Viewfinder Information 1) AF information (AF points, focus confirmation light) 2) Exposure information (Shutter speed, aperture, ISO speed, AE lock, Exposure level, exposure warning) 3) Flash information (Flash ready, flash exposure compensation, high-speed sync, FE lock, red-eye reduction light) 4) Image information (Highlight tone priority, Monochrome shooting, maximum burst, white balance correction, SD card information)

Depth Of Field Preview No depth-of-field preview button (Enabled with C.Fn 9-4)

Autofocus

Type TTL-CT-SIR AF-dedicated CMOS sensor

AF Points 9-point AF (f/5.6 cross-type AF point at center)

AF Working Range Center AF Point: EV 0 - 18 (at 73°F/23°C, ISO 100) Other AF Points: EV 1 - 18 (at 73°F/23°C, ISO 100)

Focusing Modes (1) Autofocus - One-Shot AF - Predictive AI Servo AF - AI Focus AF (Switches between One-Shot AF and AI Servo AF automatically) (2) Manual focus (MF)

AF Point Selection (1) Manual selection

(2) Auto selection

Selected AF Point Display Indicated by superimposed display in the viewfinder and on the LCD monitor

AF Assist Beam 1) Intermittent firing of built-in flash. 2) Effective range: Approx. 4 m/13.1 ft at center, approx. 3.5 m/11.5 ft at periphery.

• With an EOS-dedicated Speedlite attached, the Speedlite's AF-assist beam is emitted instead.
• Compatible with 320EX, 270EX II and 270EX AF-assist beam (intermittent flash firing).

Exposure Control

Metering Modes 63-zone SPC TTL metering with selectable modes

• Evaluative metering (linkable to all AF point)
• Partial metering (approx. 10% of viewfinder at center)
• Center-weighted average metering

Metering Range EV 1.0 - EV 20.0 (at 73°F/23°C with EF50mm f/1.4 USM lens, ISO 100)

Exposure Control Systems Creative Zone modes (1) Program AE (program-shift possible) (2) Shutter-priority AE (3) Aperture-priority AE (4) Manual exposure (including bulb) Basic Zone modes (1) Scene Intelligent Auto (Program AE, non-shiftable) (2) Flash Off (3) Creative Auto (4) Portrait (5) Landscape (6) Close-up (7) Sports (8) Night Portrait

ISO Speed Range

Shooting Mode	ISO Settings
Scene Intelligent Auto, Flash Off, Creative Auto, Landscape, Close-up, Sports, Night Portrait	ISO 100–3200
Portrait	ISO 100
P, TV, Av, M*1	ISO 100–6400*2
With flash	Fixed at ISO 800*3,4,5

*1: 1 ISO 800 for Bulb exposures. *2: Depends on the maximum ISO speed that has been set. *3: If fill-flash results in overexposure, ISO 100 is set. *4: When the maximum ISO speed is ISO 400, the speed is fixed at ISO 400. *5: If a bounce flash with an external Speedlite flash is used in Basic Zone modes (except Night Portrait) or P mode, the ISO speed is automatically set between ISO 800–1600 in accordance with the brightness.

Exposure Compensation (1) Manual: ±5 stops in 1/3- or 1/2-stop increments (2) AEB : ±2 stops in 1/3- or 1/2-stop increments

AE Lock Auto AE Lock: Applied in One-Shot AF mode with evaluative metering when focus is achieved.

Manual: By AE lock button in P, Tv and Av modes

Shutter

Type Vertical-travel, mechanical, focal-plane shutter with all speeds electronically controlled.

• Electronic 1st curtain. Only 2nd curtain mechanically controlled.

Shutter Speeds 1/4000 to 30 sec., Bulb (Total shutter speed range. Available range varies by shooting mode.); X-sync at 1/200 sec.

• Settable in 1/3- or 1/2-stop increments.

Shutter Release Soft-touch electromagnetic release

Self Timer 10-sec. or 2-sec. delay

Shutter Lag Time (1) During SW-1 ON, time lag between SW-2 ON and start of exposure: Approx. 0.12 sec. (2) Time lag between simultaneous SW-1/SW-2 ON and start of exposure: Approx. 0.24 sec.

• Time lag with the aperture stopped down by 3 stops or less. Excludes AF operation time.

Remote Control Compatible with Remote Switch RS-60E3. There is no wireless remote control sensor.

Built in Flash

Type Auto pop-up, retractable, built-in flash in the pentamirror

Flash Metering System E-TTL II autoflash (Evaluative, Average), FE lock

Guide Number Approx. 9.2/30.2 (at ISO 100 in meters/feet)

Recycling Time Approx. 2 sec.

Flash Ready Indicator Flash-ready icon lights in viewfinder

Flash Coverage Up to 17mm focal length (equivalent to approx. 28mm in 135 format)

FE Lock Provided

External Speedlite

Flash Metering E-TTL II autoflash (evaluative flash metering and average flash metering), FE lock

Flash Exposure Compensation ±2 stops in 1/3-stop or 1/2-stop increments

Drive System

Drive Modes (1) Single shooting (2) Continuous shooting (3) 10-sec. self-timer (4) 2-sec. self-timer (5) Continuous shooting after 10-sec. self-timer (2 to 10 shots)

Continuous Shooting Speed JPEG & RAW: Max. approx. 3.0 fps

Maximum Burst (1) JPEG: 69 shots (2) RAW: 6 shots (3) RAW+JPEG: 4 shots

Live View Functions

Shooting Modes Still photo shooting and video shooting

Focusing 1) Autofocus - FlexiZone-Single - Face Detection Live mode - Quick mode 2) Manual Focus

Metering Modes Real-time Evaluative metering with image sensor

Metering Range EV 0 to EV 20 (At 23°C/73°F, ISO 100)

Grid Display (1) Grid 1: Pair of vertical and horizontal lines (2) Grid 2: 5 vertical and 3 horizontal lines

Exposure Simulation Provided

Silent Shooting Not provided

Video Shooting

File Format MOV (image data: H.264; audio: Linear PCM (monaural))

File Size [Full HD] 1920 x 1080 (30 fps/25 fps/24 fps): 330 MB/min. [HD] 1280 x 720 (60 fps/50fps): 330 MB/min. [SD] 640 x 480 (30 fps/25fps): 82.5 MB/min. * If the file size exceeds 4GB, a new file will be automatically created. ** SD Class 6 or higher required.

Frame Rates 1920 x 1080 (Full HD): 30p (29.97) / 24p (23.976) / 25p 1280 x 720 (HD): 60p (59.94) / 50p 640 x 480 (SD): 30p (29.97) / 25p

Continuous Shooting Time Approx. 29 min. 59 sec.

Focusing Autofocus: FlexiZone-Single, Quick mode, Face Detection Live mode; manual

Exposure Control (1) Program AE for movie shooting * Shutter speed 1/30 - 1/4000 sec. (signal accumulation time), aperture and ISO speed automatically set (2) Manual Exposure

• The ISO speed, aperture, and shutter speed (signal-accumulation time ranging from 1/30 sec. to 1/4000 sec.) are set manually.

Exposure Compensation ± 3 stops in 1/3-stop increments

LCD Monitor

Type TFT color, liquid-crystal monitor

Monitor Size 3.0-inch (Screen aspect ratio of 4:3)

Pixels Approx. 460,000 dots

Coverage Approx. 100%

Brightness Control Adjustable to one of seven brightness levels

Coating None

Interface Languages 25 (English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Hungarian, Czech, Romanian, Ukraine, Turkish, Arabic, Thai, Simplified Chinese, Traditional Chinese, Korean and Japanese)

Playback

Display Format (1) Single image display

• Single image, basic information, detailed information, histogram display

(2) Index display

• 4-image index and 9-image index.

(3) Jump display (Image jump w/ Main Dial)

• 1/10/100 images, shooting date, by folder, movies, stills, rating

Highlight Alert On the detailed information and histogram displays, highlight areas with no image data will blink.

Quick Control Function

Items When you press the Quick Control button under the following conditions, you can set the functions below (The settable functions depend on the shooting mode): (1) With viewfinder shooting: Shutter speed, aperture, ISO speed, exposure compensation, AEB, flash exposure compensation, Picture Style, white balance, Auto Lighting Optimizer, raise built-in flash, AF mode, drive mode, metering mode, and image-recording quality. (2) With Live View shooting: AF mode, drive mode, white balance, Picture Style, Auto Lighting Optimizer, image-recording quality, ISO speed and raise built-in flash (with C.Fn). (3) With movie shooting: AF mode, white balance, Picture Style, and Auto Lighting Optimizer.

Image Protection and Erase

Protection Erase protection can be applied/canceled for a single image, all images in a folder, or all images in the card.

Erase Erase single image, erase selected images, erase all images on folder, erase all images in a card, or erase only unprotected images.

Direct Printing

Compatible Printers PictBridge-compatible printers

Printable Images JPEG images complying to Design rule for Camera File System

• RAW images printable.
• Movies cannot be printed.

DPOF: Digital Print Order Format

DPOF Version 1.1 compatible

Customization

Custom Functions 11 Custom Functions with 33 settings settable with the camera

Custom Controls Not Provided

Camera User Settings Not provided

My Menu Registration Up to six top-tier menu options and Custom Function settings can be registered.

Interface

USB Terminal Hi-Speed USB-standard mini-B terminal for personal computer communications and PictBridge.

Video Out Terminal 1) Type C (Switches automatically to suit the resolution) 2) Video output: 1. 1080/60i, 2. 1080/50i, 3. 480/60p, 4. 576/50p * Switches automatically to 1, 2, 3, or 4 to suit the TV.

Extension System Terminal Compatible with Remote Switch RS-60E3

Gigabit-Ethernet Compatible (*Canon cameras are not guaranteed to support Eye-Fi card functions, including wireless transfer. In case of an issue with the Eye-Fi card, please consult with the card manufacturer. The use of Eye-Fi cards may not be approved in all regions, or from one region to another; please contact the card manufacturer for status of approval in the country/region of use.)

Power Source

Battery Battery Pack LP-E10 x 1 * With the AC Adapter Kit ACK-E10, AC power is possible.

Battery Life Number of shots (approx.)

Shooting Method	Shooting Conditions	Temperature
		At 73°F/23°C	At 32°F/0°C
Viewfinder Shooting	No Flash	Approx. 600	Approx. 500
	50% Flash Use	Approx. 500	Approx. 410
Live View Shooting	No Flash	Approx. 190	Approx. 180
	50% Flash Use	Approx. 180	Approx. 170
Video Shooting		Total: 1 hr. 15 min.	Total: 1 hr. 10 min.

Battery Check Automatic battery level check when power is turned ON. Battery level indicated in one of four levels on LCD monitor.

Power Saving Provided. Power turns off after 1, 2, 4, 8, 15 min.

Date/Time Battery Built-in secondary battery. When fully-charged, the date/time can be maintained for about three months. * Recharge time for backup battery: Approx. 8 hours

Start-up Time Approx. 0.1 sec. (Based on CIPA testing standards)

Dimensions and Weight

Dimensions (W x H x D) Approx. 5.10 (W) x 3.93 (H) x 3.07 (D) in./ Approx. 129.6 (W) x 99.7 (H) x 77.9 (D) mm

Weight Approx. 16.93 oz. / 480g (CIPA Standard) Approx. 15.34 oz. / 435g (Body only)

Operating Environment

Working Temperature Range 32-104°F/0-40°C

Working Humidity Range 85% or less

All data are based on Canon's Standard Test Method. Subject to change without notice.

Q & A : What to use as a Master flash if my Canon doesn't have the capability in the popup?

To ask questions of the Photo Video Guy, send your question in an email to ross@thephotovideoguy.ca I did a seminar on getting your flash off camera at my local Henry's store yesterday and Dennis asked if I had a solution for the SL1.  He was curious if the Speedlite 90EX could be used as a master flash.

The SL1 has a popup flash but it doesn't have the capability to control other Canon flashes via optical transmission as is found in the T3i and higher cameras.  There are other cameras, like the older 30D that have a popup without this functionality either.

Dennis said that he had heard that the Speedlite 90EX could be a master and be used to control other Canon Speedlites acting as slaves.

He's mostly correct.  The Speedlite 90EX can be a master controller, but not a Master Flash.  If you go into the External Flash Control menus, and turn wireless on with the 90EX mounted and powered up, it becomes a controller only.  Sort of like the ST-E2 device.  It's no longer capable of being used as a flash.  So long as the camera has the ability to control an external EX series flash from the camera menu system, that flash can be a master controller.  In the case of the 90EX, this works but turns off the flash function of the 90EX.

Which is just fine after all since you don't want it contributing to the exposure anyway.  I could not put hands on a 90EX to try on an SL1 but according to the documentation on both sides, this will work.  Which is cool since a 90EX is only about $130 whereas the ST-E2 is discontinued and even used they are selling for $180.

I'm going to try to borrow a 90EX (it comes in the kit with the EOS-M) and test this out live and will update this post if it fails.

Understanding Tilt + Shift Lenses

I recently put hands-on a used Canon Tilt + Shift lens and wanted to clear up the myriad misconceptions around what these lenses do.  I was distressed to see so much misinformation out there and hope that this helps readers get a clearer idea of why Tilt+Shift can be so powerful.

There is lots of babble about the tilt-shift "effect", usually in relation to using focus plane adjustment or making things look like a "toy".  This usually means taking a normal shot and making it look like it was shot with a macro lens with limited depth of field.  It's an eye trick, and while some people like it, it gets old very fast and severely under-utilizes the power of tilt + shift lenses.  You'll note that I refer to Tilt + Shift instead of Tilt-Shift.  I credit Australian photographer Peter Hill for educating me on the distinction and seeing as I find his argument so credible, elect to continue using his nomenclature.

Let's step back a bit.

With a view camera, there are two standards, the lens standard and the film plane standard.  On a view camera, both standards are adjustable in four ways.  Rise and fall means that the standard can move up or down without altering the angle of the lens or film plane.  Shift means that the standard can move left or right without altering the angle of the lens or film plane.  Tilt means that the standard can tilt forward and back without altering the vertical or horizontal position of the lens or film plane.  Swing means that the standard can swing to the left or right without altering the vertical or horizontal position of the lens or film plane.

With a DSLR style Tilt + Shift lens, instead of there being four movements available simultaneously, there are only two available simultaneously (mostly).  This isn't a bad thing at all, just a fact of life.  All movements in this type of lens are like moving the lens standard on the view camera.  The rear standard (film plane) is fixed.  Most TS lenses will offer rotation, so you can have either Shift or Rise/Fall but not both fully independently.  Because the rotation is free, you can get shift and rise/fall together but not with the exactitude of separate adjustments.

Similarly in standard orientations the lens can either tilt or swing but not both.  Again, using the rotation capability you can get some level of tilt and swing, but not with the exactitude of separate adjustments.

Please note that a full tilt with a full shift may cause vignetting to occur, although newer TS lenses have larger image circles to combat this.  For example, I was using the first edition of Canon's 24/3.5L TS lens.  The second edition, has an image circle 1.5x bigger so this reduces the likelihood of vignetting substantially.  When you look at the samples under Combinations, you can see vignetting happening.  Yes I could correct his in post, I simply chose not to do so, in order to illustrate the point.

Be aware that there is no autofocus in a Tilt + Shift lens.  This is logical since the focus plane is by definition, unfixed.  There is also no autoexposure.  With the lens centred, take your light meter reading and then make those settings in manual mode.  When you start moving the lens options, the meter reading will be wrong.  So learn where manual mode is and how to make a setting in it before moving the lens.  Using a handheld incident light meter will of course be helpful.

Also note that this lens is not one of those that you will use Lens Profile corrections for in your editing software.  That would defeat the purpose somewhat.

Let's take a look at the different movements

Rise / Fall and Shift

In these scenarios, the lens is raised or lowered, or shifted to the left or right, relative to the film plane.  It's kind of hard to describe so I made some simple (and boring) shots to help illustrate.  Rises and shifts tend not to introduce distortions and are very useful when photographing buildings to prevent them from appearing to be falling over or leaning.  These movements are also awesome for big landscapes where you cannot get into the exact position you want to be to shoot from but need more than you could get without tilting the camera.  All the images you see here are shot from EXACTLY the same position, camera on a tripod.  These are samples of rises, falls and shifts.

Tilts and Swings

In these scenarios, the lens is moved so it changes the focus plane that the lens delivers to the sensor.  So subjects in different parts of the viewfinder but at the same distance from the camera can have one in focus and the other out of focus.  This is the "toy" effect. Much more useful is if you are shooting a canyon where the far side varies significantly in distance and you want all elements in focus, but the lighting or other situations prevent you from going for maximum depth of field.  By swinging or tilting the lens, you change what is in focus and can align the new focus plane to the subject.  I've seen Moose Peterson use a tilt to pull more foreground into focus in a landscape to create the image of more depth.  There is also a capability to combine tilts / swings with focus stacking to get incredible depth of field while correcting for distortions such as mountains leaning over backward or buildings appearing to lean in towards the centre.  Here are some samples showing tilts and swings.

There are new corrections in Lightroom and Photoshop and also in dedicated applications such as DxO Viewpoint to help correct for falling and leaning that frankly costs a lot less than a TS lens, so judge accordingly as to the value that owning a TS lens would bring you.  Rent one a few times before dropping major coin on one.

Combinations

You can of course mix Tilts and Shifts in a single image.  This perhaps where a TS lens becomes most agile, and also the most work.  Here are some samples with multiple movements.

In closing, Tilt + Shift lenses are not for everyone, but may be for more people than would initially be considered.  And let me be clear.  Lens Baby style kit ARE NOT like a Tilt + Shift lens.  They are capable of altering the tilt/swing of the lens but do not shift and their mediocre optics become tiresome in short order.  With great respect, they are more toy than practical tool.

A Tilt + Shift lens could be an amazing tool in your photographic arsenal.  The sample images really don't do the power of the lens full justice but they do give you a sense of the capability.  To reiterate; every frame was taken at the same exposure, same focus from exactly the same position on a tripod.  Camera was a Canon 1Dx with Canon's 24mm f/3.5L I Tilt + Shift lens.  Images were imported into Lightroom 5.3 and then exported to high quality JPEG for web presentation.  1/160 f/13 ISO 100 +- 0EV

Canon 600 EX RT - no optical slave capability

Well this is annoying... When I sold off my Metz 58s, I missed something as I moved entirely to 600 EX-RT hotshoe flashes.  Don't get me wrong, Canon's radio system is terrific, and I love it and even did a popular video on how great they are.

But...

Last night I was commissioned to shoot portraits of the guests at a big party.  My main lights were Elinchrom BRX strobes and I wanted a hair light up on a boom that wouldn't be stupid heavy.  So I packed along a 600 EX-RT assuming (yes I know) that like any decent flash it would do simple optical slave triggering.

Wrong again honey.

Canon flashes do infrared slave, radio slave and remote slave from other Canon lights.  But no optical slave.  In fact even the 580 EXs didn't so I should have known years back.

This is in my opinion, really stupid on Canon's part.  Nikon doesn't remove functionality when they add to CLS, Canon didn't need to remove functionality when they added radio. One more hard to navigate menu selection would not have made that much of a difference.

We figured a way around the problem using the 600 EX RT in manual mode, controlled from the camera shoe with the ST-E3 RT, and setting the Elinchroms to fire using their built-in optical slave triggers.  The night went fine, except for the annoying fact that guests using their cellphone flashes kept triggering the very sensitive Elinchrom triggers.

So I am going to go fire up the old Metz 45 CT1 with a connected slave and dial it down to be my light weight hair light flash because I know that this works, but I'm also going to go take a look at the Elinchrom D-Lites for smaller lighter lights that I can control and group from the single Elinchrom Skyport transmitter.  I had thought of taking my Quadras, but I failed to charge them up prior and while they would have been ideal I had lots of AC available so the need to hang the battery pack would have necessitated a third C stand and boom instead of the much lighter Manfrotto 420B boom combo stand that it is my drag everywhere light stand.

Q & A : How do I make a High Key portrait?

To ask a question simply send an email to ross@thephotovideoguy.ca Reader Jens sent in the following question. "I have seen some portraits called high key on the web.  The picture looks very light and the background is completely washed out, but there is still lots of detail.  How do I do this?  I have a Nikon D7100, a 105mm micro and a SB-910 flash.  I think I need a background and more flashes but I am not sure.  Is this an expensive method? Can you help?"

Thanks for writing in Jens and yes I can help.  High key as a style has come in and out of favour over a long time.  I like the look myself and it's pretty easy to do.  You will need at least one, probably two, more flashes but you don't have to spend a ton of money on the other flashes since purely manual ones will do.

It will help if you have a flash meter but it isn't completely necessary.  I will tell you how to do it without a flash meter using all the flashes in manual mode for simplicity.  You will definitely need a white background, preferably a paper roll to reduce wrinkle shadows, a background stand of some kind and a diffuser of some sort for your SB-910.  Fortunately you have a D7100 that supports Nikon's Creative Lighting System so this gets easier to get your flash off camera.

Let's work back to front.

Start by putting your paper roll on the background stands and rolling it out to make a smooth backdrop right to the floor and forward on the floor a bit.  You want white on the ground for more reflection.

Put a simple manual flash head on either side of the background and angle them so the beams "cross" each other to make even light coverage on the white paper.  Set the flashes at full power to start and make sure that their slave mode is enabled.  This will cause them to fire when they detect your main flash going off.

Put a mark a few feet in front of the flashes where your model with stand or sit.

Put your SB-910 in manual mode at say ¼ power and put it on a stand and use a soft box.  If you are doing only head shots, a 20" x 20" soft box will do the job, go bigger for more coverage.  A good place to start is the Lastolite Ezybox Hotshoe.  I recommend the Joe McNally version for high key because the box is lined with white instead of silver, producing a softer light.  The box comes with the bracket for your flash, you will need a light stand and tilter bracket as well.  If you already have a flash diffusion system, you can get by with what you have.

Position the soft box so it is in front of the model and aiming down towards the model.  This produces a sort of beauty dish style light but one that is softer.

Set your D7100 to Commander mode so the popup unit will trip the SB-910 but not contribute to the light.  You might need to fiddle with the sensor orientation on the SB-910 to get it to read the popup.  If this is a hassle or you are shooting right under the soft box, you will need a set of radio triggers.  Get the Cactus V5 system and you are good to go.  They don't do TTL but you will be just fine without it, and it doesn't really work for high key anyways.

What you want is the light on the background to be AT LEAST two stops brighter than the light on your model.  So if your test exposure says that you get a very nice exposure of the model at 1/125 and f/5.6, you want the exposure on the background that gives completely white response to be at least 1/125 at f/11.  This is why you turn the back flashes up high and the front one down a bit, to help get this ratio happening.  You aren't using TTL because your camera would be trying to turn down the background making the model silhouette out.  This is where manual is best and actually easiest.

I've attached a simple diagram so you can see what I mean.  Keep your main light close to the subject so it's really soft.  You may need to dial down the power on the SB-910 to get the right ratio, just keep adjusting until you get the initial exposure on the face right and then manipulate the power on the two rear flashes so they are at least two stops brighter.  This will give you the washed out background, some nice spill around the model's periphery and that high key look.

Now start experimenting with some over exposure of the main exposure.  If the "correct" exposure is 1/125 at f/5.6, shoot at f/5, f/4.5 and f/4 to see which you like best.  You'll be overexposing the background as well but there's a lot of subjectivity that goes into what the "right" exposure from your main light is.

Now, if you have a flash meter, it gets easier because you just meter the light coming off the background when the rear flashes fire and then set the output level on the main flash to be at least two stops less.  What does this get you?  It saves you time getting to your starting point.

Ideal Gear Scenario

• 3 Flash Heads of similar output, manual mode, output power control, slave function
• 2 Light Stands with hotshoe flash mounts
• 1 Light Stand, Boom optional
• 1 Softbox, flash bracket and tilter head
• 1 Background Stand Kit
• 1 Wide Roll White Background Paper
• 1 Radio Trigger Set from Camera to Main Flash
• 1 Flash Meter

Note that the gear listed is going to be useful for a lot more than just high key portraits and will be valuable for all kinds of different shooting scenarios.  I've recently discovered the Lastolite Hilite, a dedicated popup background specifically for high key.  It's a 6' x 7' pop up system with an outer white diffusion panel and an inner white reflector stitched together by separators about 16" wide.  It comes with four 16" rods to hold the front and back sections apart and has zippers on all four sides that open to allow you to get the front of the flash heads inside the enclosure.  It's not inexpensive but it is readily portable and collapses into a disk about three feet in diameter.  I've just ordered one in and will provide a review in the future.

Thanks for the question, I hope that this has been useful.

My Top 12 Holiday Gifts Under $250 (mostly)

Every holiday season the family and friends of photographers go seeking gift ideas.  Every year they ask the photographer or videographer what he or she would like.  Every year the answer starts with a 400/2.8 at eleven grand and the buyer gives up.  The Photo Video Guy is here to help with my top 12 gifts under $250 (mostly). If you buy from B&H, OnOne or Amazon through my links, you help support The Photo Video Guy. If you buy from Adobe or Google, you're getting the deal and if you buy through the Henry's links, well you help them out because Henry's doesn't have an affiliate program. Adobe Creative Cloud Photographer's Bundle

At $9.99 per month if you sign up before December 31st, this is a killer deal.  You get Lightroom 5.x and Photoshop CC for less than the retail price for Lightroom.  Yes it is subscription and yes there is a web activation component, but you get the newest hottest code and the ability to run on two machines simultaneously.  Adobe has listened and this is a great deal.

Adobe Photographer's Bundle

Set of Extension Tubes

It's hard to beat a great macro lens for closeups but this is the entry way to do it.  Using a set of extension tubes enables pretty much any lens to do close up work.  If your gift receiver already has a macro lens, this kit makes it capable of even greater closeup work.  I recommend the set because the kit of three costs about the same as one tube from a manufacturer and works just as well.

Aputure Tubes Canon and Nikon - Henry's Canada Tube Set for Canon Tube Set for Nikon

Kenko Tubes - B&H USA

Tube Set for Canon Tube Set for Nikon

Google Nik Collection

When Google bought Nik, post-processors were terrified.  The Nik Collection used to be $600.  Now it's $149 and contains amazing post processing plugins that work with Lightroom, Photoshop and Aperture including Color Efex Pro, HDR Efex Pro 2, Silver Efex Pro, Sharpener Pro and Dfine Noise Reduction.

Nik Collection

Lastolite Ezybox Hotshoe / Ezybox

Nothing makes a hotshoe flash look better than getting it off the camera and softening the light.  The Lastolite Ezybox hotshoe straps right onto the head of your hotshoe flash and produces really nice light.  If you have an off camera cable or wireless system, you can control your flash centrally and just hold it at arm's length for significantly better flash shots.  Want a bigger source?  Go for the Lastolite Ezybox Softbox.  It includes the bracket and flash mount, all you need is a simple light stand and tilter bracket.  Nothing sets up faster than an Ezybox and the dual diffusion panels make the light beautiful

Henry's Canada - Softbox

B&H USA - Softbox

Henry's Canada - Ezybox Speedlite Kit

B&H USA - Ezybox Speedlite Kit

Cowboy Studios Shoulder Rig for DSLR Video

You could spend a fortune on a shoulder rig to shoot live video with your DSLR or Compact System Camera.  You don't have to.  The Cowboy Studios kit is an amazing value and it just works.  Designed specifically for DSLR and mirror less style cameras, you forego weight and cumbersome rods for a solution that is simple, lightweight and incredibly effective. Also includes a follow focus for less than the price of a standalone follow focus.

Shoulder Rig w Follow Focus

Polarizing Filter

You can do most anything in post processing with digital filters except for true polarization.  Every photographer and videographer will benefit from a polarizer to manage reflections and deepen blue skies on clear days.  Buy the one to fit the largest diameter required and step down rings to use the same filter on lenses with smaller filter sizes. I personally prefer the B+W and Heliopan brands.

Various sizes and prices, check out Henry's

Piccure

I see too many potentially great shots where a bit of camera shake creates enough micro blur to make the shot less than ideal.  Piccure is a plugin that does one thing really well and that is to correct for camera micro shake.  The plugin works with Lightroom or Photoshop.  If your photo enthusiast is complaining about micro blur, this could be the answer.

Get Piccure

OnOne Software Perfect Photo Suite

Full disclosure, I am an affiliate with the great people at OnOne Software, and if you buy the software through my link I earn a minor commission.  That said, Perfect Photo Suite 8 rocks.  The Suite contains Perfect Effects, Perfect Enhance, Perfect Portrait, Perfect Resize, Perfect B&W, Perfect Browse, Perfect Layers and Perfect Mask.  And the full suite is on sale right now.

Cowboy Studio Continuous Lighting Kit

This is a very inexpensive multi-head continuous lighting kit that is perfect for someone starting out.  You get in a easy to handle kit, two light stands, one boom stand kit with bracket, a lamp housing with soft box for the boom, two 5 lamp housings with two 20"x28" soft boxes, 10 45w bulbs, 1 65w bulb and a carrying case.  Because it is continuous lighting based on CFL bulbs it's perfect for photography and videography and the lights run cool so you don't bake your talent.

Manfrotto Boom/Stand Kit

Every photographer needs a light stand.  They also need a boom.  They usually find out that they need a boom after buying a light stand.  Then another trip to the store to buy a sandbag to keep everything from being tippy.  Save time and money with the superb Manfrotto 420B Combi-Boom Stand.  It folds compactly and is all most folks will ever need in a complete kit with a boom that doesn't creep like some sold for more money.

Henry's Canada - Manfrotto 420B

B&H USA - Manfrotto 420B

External Hard Drive

Photos and videos take up space.  Many photographers and videographers have limited space on their preferred laptops so an external drive is the way to go to hold libraries and projects.  You can build your own using components or buy complete units.  The WD Passports are complete kits that work pretty well as are the G-Tech series.  I've had bad experience with LaCie myself but many people love them.  My greatest success comes from buying a case and putting an SSD into it.  Screaming fast and easy on energy.

WD 2TB USB3

Aputure HDMI Monitor

That little LCD on the back of the camera just isn't big enough to confirm sharpness and a good shot, especially with video.  Every videographer needs an external monitor that runs off the HDMI port to check their recordings.  The videographer is often in the "shot" and an external display can be positioned to help the talent see what's going on.  The Aputure 7" display does a great job at a really low price.

Henry's Canada - Aputure HDMI Monitor

Video : Picking a Portrait Lens

Since this has been a very popular topic, I recorded a short video discussing some potential focal lengths to use for portraits, along with my personal recommendation.

Q & A : The Best Lens for Portraits

To get your question answered, send it via email to ross@thephotovideoguy.ca  You'll be glad you did! I've actually known CJ since he was an infant, because I know his folks.  He's been into photography since his teens and as a young adult is starting to make his way as a professional photographer.  He's been published and is a very talented fellow.  He recently asked me this question, after adding a beauty dish to his lighting kit.  "What's the best lens for portraits?  I'll be doing head shots and half body shots.  I've narrowed it down to 2 lenses, the Canon 85/1.2 L and the Canon 100/2.8 L Macro.  What do you think?"

Well CJ, it's a great question.  My preferred portrait lens is actually the Canon 70-200/2.8. It's awesome but I hold +Scott Kelby accountable since it was his articulate treatise on the subject that led me this way.  That said, I own and like both the lenses you asked about and I will hold my answer to one of your selections, (which is what I actually did do).

CJ is using a Canon 7D.  We tend to toss this off as "oh a crop sensor camera" as if that meant some kind of disease.  The ONLY think that really matters with having a crop sensor is the effect it has on relative focal length.  A crop sensor sees a smaller image circle, so if a lens that produces a full frame image circle is used (as in these two lenses), the sensor only sees part of the total image giving you the effect of shooting a longer focal length.

This is true for crop sensor built lenses too with the difference that they WON'T work on full frame cameras.  If you think you'll ever move from crop to full, or have both, only buy glass that will produce the image circle required by a full frame sensor.

The Canon sensor has a crop factor of approximately 1.6x.  So simply this means to get what the effective focal length is, multiply the physical focal length by the crop factor.  In the example of the 100mm lens, this means it gets the look of a 160mm lens.

This can be awesome and horrible.  For sports and long distance it's wonderful.  For super wide it's a nightmare.  But CJ asks about portraits.

Back in the olden days, there was an ongoing bun fight over what lens was better for portraits, the 85mm which allowed you to get really tight, had a super large maximum aperture and had lovely focus falloff, or the 105mm which allowed you a bit more standoff distance and gave slightly more perspective compression.  I know CJ asked about the 100mm, but when I was coming up, the portrait lens I yearned for was the Nikkor 105/2.5 AI.  It was SO good.  Well that bun fight still goes on.

The reality is that either of the 85mm or 100mm will do lovely portraits if you do your part.  The 85mm that CJ asks about is the f/1.2 variant.  Think sees in the dark.  Also think very razor thin depth of field wide open.  On a headshot with focus on the eye, the tip of the nose is definitely soft.  It's an incredible look if you use it properly.  The lens also has wonderful bokeh (no rants on mispronunciation or vendor BS dumps about Bokeh - I Promise).  Out of focus areas are really rendered beautifully.  The downside is that the AF performance is slow.  Like you can watch the lens turn slow.  And this is the II iteration which is faster than the first series.  It's also surprisingly heavy.  On a 7D, it acts like a 136mm/1.2 lens which is really wonderful for faces and still works for half-lengths if you stop down a bit, say f/5.6.

The 100mm f/2.8 is a different animal entirely.  This is by design, first a macro lens.  It delivers up to 1x life size on the sensor without additional kit.  It's tack sharp and focuses very quickly, given the sophistication that goes into macro lens design.  It's fast enough optically but doesn't produce that razor thin depth of field as we find in the 85mm.  It does produce beautiful bokeh, because that is a design criteria for top end macro lenses.  This is not well known but may help explain why so many photographers love the bokeh in macro lenses.

There is a lot of noise about the number and style of the blades.  Odd numbers of blades produce star effects with twice the number of points as blades, even numbers of blades produce star effects with the same number of points as blades.  This has NOTHING to do with the choice of lens for portraits.  More blades tend to produce rounder apertures as do curved blades and many people think that this produces more pleasing out of focus highlights.  I'm one of those people.

Having shot both lenses a lot, I favour the 100mm most often.  I love the look of the 85mm but since I shoot most often with a full frame now, in my opinion, the 85mm focal length pushes me too close to the subject for a headshot, particularly if the subject is not a model who may be more comfortable with big glass in her (or his) face.  The 100mm give just a bit more standoff and I have not found that to be a problem in the areas where I shoot these types of portraits.  I also love getting really close (eyes are awesome) and the macro is wonderful for that sort of thing.  If I'm doing low natural light work, that's really where that f/1.2 comes into play on the 85mm.  Here are a couple of shots of my wonderful model Sondra shot today and attempting to get a similar perspective with the different lenses.  For those all gear interested, lighting is a Bowens 500 Pro tripped by radio via Pocket Wizard at lowest power shooting through the Bowens Beauty Dish with the added diffusion sock.  Camera is a Canon 1Dx in manual mode at 1/100 and f/9.0 ISO 50, no exposure compensation.

Yes, I should have brushed her hair.  Bad me.

Again, although it wasn't in the criteria that CJ asked about, I encourage you to take some time to think about a 70-200/2.8  Both the Canon and Nikon variants are really exceptional and they are extremely versatile lenses.  Both are extremely sharp with excellent distortion control so great for head shots, plus the zoom gives you very quick compositional changes.  The downside of this route is always going to be the physical size and intimidation factor.  Please also note that I would never go with a lens optically slower than f/2.8 in such a zoom if portraiture was part of my expected outcome list.

Q & A : The Best Lens for Hockey

To ask a question of The Photo Video Guy, send an email to ross@thephotovideoguy.ca Janet writes; "I am getting into sports photography because I spend so much time in arenas since my son and daughter both play hockey.  I have a Nikon D5200.  It came as a kit with two lenses.  One is the regular lens and the other is a telephoto zoom lens.  The zoom says Nikon DX Nikkor AF-S 55-200mm1:4-5.6 G ED.  The person at Best Buy said it was perfect for hockey but my shots are all blurry.  I use the camera in the fully automatic mode.  I want to get nice pictures of my kids but don't have a lot of time to learn all about photography.  Is this a good lens?  Is this a good lens for hockey?"

Well Janet, hockey is pretty challenging.  Most amateur arenas have horrible lighting, the sport is pretty fast, and you have somewhat limited shooting positions.  When I was doing the TV show with Bryan Weiss we had OJHL Director of Photography Brian Watts on the show and he talked about the gear he uses.  Brian is a professional, but his advice is, I think, very good.  I also agree with him.

To make good pictures in the arena, you are going to have to do a few things.  It will be easiest if you come off auto mode and set your camera to aperture priority (it's the A on the top dial).  Then set your ISO to 3200.  You have a great camera with a very new sensor and it will do a good job at ISO 3200.  This high number tells the sensor to be more sensitive to light.  You will get a bit more digital noise at higher ISOs but if you are sharing on the web or making prints up to 8x10 this is going to be just fine.  You will also want to set your camera to continuous auto focus that Nikon calls AF-C.  I don't have a D5200 handy but this is usually a switch on the body, often on the front near the lens.

There are two more setting that you will want to make.  First put the camera in continuous shooting mode.  CL will give you up to 3 frames (pictures) per second, and CLH will give you up to 5 frames per second.  Second, find the control for Exposure Compensation and set it to +1.5 or +1 ⅔ depending on how your camera is setup.  You want to overexpose a bit because of all the white ice.

I suppose I should also mention to have a large fast SD card in the camera, so you don't have to wait while the buffer empties or you don't run out of shots before the game is over.  When I shoot hockey, I average about 200 shots per period.  Most of them aren't keepers, I expect a very high discard rate.  Better to shoot and throw away than not shoot and miss the shot you want.

Now to your last question, about the lens.  It's a good lens particularly for outdoor work.  But without trying to upset you, it's really not the right lens for hockey.  The focal length (biggest amount of zoom) in this case is 200mm.  On a crop sensor body such as you have this is like shooting with a 300mm lens on a professional grade camera like the Nikon D4.  This is good because it reduces size and weight.  Unfortunately the lens you own is optically very slow, too slow in my experience for success inside arenas.

If you still have return privileges, I would pack the lens up neatly and get your money back.  I don't mean to disrespect Best Buy, I'm sure that there are nice people there, but they likely don't know photography.  Head in to a photography specialty store and look at the Sigma 70-200 f/2.8 lens.  It's physically bigger than what you have and weighs a bit more, but at 200mm it lets in two more stops of light than the lens you have.  Without a bunch of techno-babble that means FOUR TIMES as much light.  That will make a huge difference for you.  The lens is often on sale, and as this is being written in November, holiday and Black Friday sales are going on already.

In Canada, where I live, Sigma offers a 7 year warranty, no need for extended warranties on this stuff.  Do get a quality protective filter for the lens.  A Tiffen UV is a great filter and much less expensive than some of the other brands.  I won't kid you, expect to pay about 5x for the Sigma what you got the Nikon kit lens for.  If you cannot afford this you can use the lens you have but I am concerned about having enough lens speed for good hockey images.

Once you have the lens on the camera, you've made the other settings I mentioned and you are heading into the arena, use the camera's controls to set the LOWEST aperture number the lens can deliver.  On the Sigma, this is f/2.8 at all zoom levels.  On the Nikon it will be f/5.6 at 200mm, dropping to f/4 at 55mm.  This is called opening up the lens or shooting wide open.  You want as much light as you can get.

Now put your AF focus point on your player of choice and hold the shutter button part way down.  In Continuous AF, the focus will adjust as you and the player move.  It's very effective.  When you think you have a shot, press through gently and let the camera take 3-5 frames.  Hockey is tough because sticks, hands and other players can get in the way. In a great hockey shot, you can see the player, the stick, the puck and the player's eyes.  As I tell my students, repetition is the mother of skill.  Shoot a lot, throw away the ones that didn't work out at home and keep refining.

I tend to recommend shooting in RAW instead of JPEG, but you indicated that you don't want to spend a lot of time learning photography.  In this case, it's probably easiest to set your camera to large JPEG and the Picture Control to Standard.  If you have a program that can convert your RAW images and you are happy doing some editing, shoot in RAW.

As a final tip, since you are shooting your own kids, don't miss a great play because you are scanning through the pictures or deleting bad shots on the camera LCD.  The time between periods is your best time to review, not while the game is ongoing.  Every game I hear a photographer moan when he or she misses a goal because he or she was looking at the back of the camera.

It is absolutely possible to get great pictures of amateur hockey in your hometown arena.  Here's an example from a couple of weeks ago that I shot in my town.

Thanks for writing in, I hope that this article helps!