There really isn’t anything new to say about Canon’s new “for–Hollywood” C300. We already know it’s going to be another industry–changing camera like the 5D Mark II. So I’ll just share with you Vincent Laforet’s video made with the C300, “Mobius”, screened at the camera’s official launch.
Here’s his blog post that goes into details about just how great the Canon C300 could be.
Yes, what you’re seeing is a new digital camera. It is not from 20 or 30 years ago. In fact, it is not yet in production and will not sell until March 2011.
It is the Fujifilm FinePix X100, perhaps the best camera Fuji has tried to produce in the past few years. Equipped with a 12.3–megapixel APS–C sensor, image should be as good, if not better, than cropped–frame digital SLRs you can buy now. The lens is 23mm f/2 Fujinon that would effectively be a 35mm fast prime, a good mate for this camera since it will not be removable.
The X100 shoots in full manual or aperture priority, with the aperture adjustable through a proper aperture ring in the lens itself! Old school shooters will be very pleased indeed. I can fully understand the appeal having been shooting with the LX3 for almost two years now. But at 1,000 USD, that’s twice the money I paid for the LX3, or the current LX5. It’s even more than you’d pay for a more usable Canon or Nikon entry–level digital SLR. If Fuji cuts the price to a reasonable level, I wouldn’t be surprised if this becomes everyone’s must–have compact shooter.
For more details, Engadget had a brief hands–on with the X100 at Photokina.
We mentioned the Impossible Project a few months back and their mission to produce a new instant film for use in Polaroid cameras after the Polaroid company officially stopped production of their instant film. The mission is now a reality with the PX100!
Here’s a sampling of what this film looks like.
This month’s been filled with so much news that I almost missed this one: the Canon EOS–7D. The latest pro–level APS–C SLR camera from Canon is better than ever. With an 18–megapixel CMOS sensor paired with dual DIGIC 4 processors, this camera is capable of shooting 8 frames per second of burst shooting. And with such an astounding rate, the shutter now rated to withstand 150,000 actuations, a significant increase from previous pro–level models.
Taking from the success of the EOS–5D Mark II and other recent cameras, the 7D also HD video. It captures Full HD video at 30p (29.97 fps), 24p (23.976 fps) and 25p, while allowing for full manual control of exposure. Another rarity for a Canon digital SLR is the intelligent viewfinder that provides 100% coverage.
About a month ago, I got the chance to handle a pre–production Canon EOS–7D in a wedding photography seminar. Ergonomics and handling compares to none, not even the 40D/50D or the 5D Mark II. It just feels really good in your hands, with all the controls in familiar spots while providing a few more additions.
When asked about the suggested retail price for the 7D here in the Philippines, the local didn’t have official word yet but it was expected to be 99,950 pesos. At that price though, the 5D Mark II seems to be the better deal. But recently, local forums and sellers have been offering preorders for the 7D in the 85,000 peso range. Cheaper compared to the SRP though still a steep price for another APS–C camera. I’d rather save and go straight to the 5D Mark II if I had the money. The 7D though might just be the camera for most shooters with a healthy lineup of EF–S lenses.
Not to be outdone by its competitors, Canon has taken the curtains off its next top–level camera, the Canon EOS–1D Mark IV. Now with sensitivity going up to ISO 102400 when utilizing the extended range, we finally have a camera that can see more than the naked eye.
The new 1D has a 16–megapixel APS–H sensor with the same 1.3x crop, now going up to 10 frames per second when burst shooting. Aside from all the other top end Canon technologies, this baby shoots 1080P HD video just like the 5D Mark II. Paired with its extreme ISO range, the 1D Mark IV might just be the next video camera every indie filmmaker wants. Too bad Vincent Laforet’s movie shot with the 1D Mark IV “Nocturne” had to be taken down for now on Canon’s request.
I’m just wondering how the 1Ds version of this would turn out to be.
Just as Leica showed off their first full–frame rangefinder in the M9, they couldn’t resist building another camera for the point&shoot market, and a promising one at that. The Leica X1 is a compact camera with a 35mm (equivalent) f/2.8 non–removable lens paired with a 12 megapixel APS–C CMOS sensor. ISO range is from 100 to 3200 though I think performance will be way better than any point&shoot or any of those upcoming micro four–thirds cameras, simply because bigger sensors almost always produce better image quality.
Surely inspired by the Panasonic Lumix LX3 and the Leica D-Lux 4, the Leica X1 seems to be positioned to take on the new MFT cameras, assuming it will be priced in the same segment. It would be almost impossible to see it near the $500 USD range; Leica has never been known for competitiveness through pricing anyway. I think $800 USD would be the perfect spot for the Leica X1, a bit cheaper than MFT cameras because it has to make up for its inability to accept other lenses. Then again, the MFT format still appears to be the better long–term value, whatever price the X1 retails.
Since this is a Leica though, I’m sure it won’t have trouble selling to its target market.
Leica finally has a proper digital camera: the Leica M9. Being the first Leica to sport a full–frame (35mm) sensor, the M9 will make you see the full capabilities of your Leica senses, not to mention making you feel you’re finally using the full value of your expensive glass.
The 18 megapixel CCD sensor was developed by Kodak and has unique capabilities for optimized light transmission from the back of the lens to the sensor plane, despite this being a tight distance for mirror-less rangefinders. Controls are not much different to the M8, so Leica enthusiasts who’ve been shooting with the older model will not have a hard time adapting. For $8,000 USD though, the Leica M9 is an improbable impulse purchase and will have to prove its case against more robust full frame cameras from Canon and Nikon.
So most of the rumors on the Nikon D300s were true after all. Nikon has just confirmed the Nikon D300s, the update to the D300. Though many features are kept the same, there are several notable changes:
Okay, there were more changes than “just a bit.” HD video recording is definitely welcome as most competitors are offering it now. Additionally, the dual card slots allows for various recording combinations to make you never lose a shot due to data corruption—just don’t lose the camera along with your memory cards!
The Nikon D3000 is Nikon’s newest digital SLR camera positioned to replace the D40 in the competitive entry–level segment. With its list of welcome improvements, the D3000 appears to continue the D40’s place as the favorite digital SLR for first–time buyers.
Here’s some of the nice things on the D3000:
Unfortunately, the D3000 does not get the HD video capabilities of its sibling. This would likely make potential buyers think twice as most new digital SLRs these days can record HD video. Pegged at USD $600 for the kit that comes with the 18-55mm f/3.5-5.6G VR lens, the D3000 will surely be a good value. If other manufacturers decide to skip HD video for its next entry–level offerings, the D3000 might sell just as well as the D40. But it might not be that way.
Dubbed by DPReview as the “worst kept secret in the photography industry,” the Olympus E–P1 Digital PEN is finally here to be the compact camera that rivals digital SLRs in quality yet just being as big rangefinder–styled point&shoots like the Canon G10 and the bestselling Panasonic Lumix LX3. Since you’ve probably heard about this from everybody else, I’ll just give you the brief specs of this camera:
Interesting indeed. I have a feeling that this camera is as much a threat to digital SLRs as it is to the LX3, G10, and similar compacts. Unfortunately, buying the E–P1 would require similar investments as if you bought an SLR: lenses will not come cheap and will certainly be a factor in how good your photos can be. It’s a good thing that Olympus intends to release a bunch of fast–aperture primes to complement the Digital PEN, it will surely allow for creative growth for those eyeing this camera. For now, we have to wait for real world sample photos to actually gauge how good it can be, but judging on DPReview’s sample gallery, the Olympus E–P1 might just be this year’s favorite camera.
Sony has just announced three new digital SLR cameras in the Alpha 230, Alpha 330, and the Alpha 380. All three cameras are equipped with APS–C/DX sized sensors that output at 10, 10, and 14 megapixels. These models also feature in–camera image stabilization that effectively increases the usability of all lenses for their system.
Numerous improvements makes these cameras considerable performers, but with one caveat: none of them can record HD video. In fact, no video recording at all whatsoever. Considering how digital SLRs with video recording are becoming common nowadays, the absence of this feature will surely cost Sony some percentage points in market share.
Nikon releases another product with a not too common feature. The Nikon D5000 is the first Nikon digital SLR to feature a vari–angle LCD screen. It shares the 720P HD video recording from the Nikon D90 as well several other features. Here’s the brief list of highlights:
The D5000 is slated to replace the D60 in the upper entry–level segment and should be a good challenge for the Canon EOS–500D/T1i. This camera is expected late April 2009 for $729.95 body only, or $849.95 for a kit that comes with the 18-55mm VR kit lens.
The Panasonic Lumix DMC–GH1 is an update to the micro four thirds–based DMC–G1 with an important feature: HD video shooting! Unlike most digital SLR cameras with video shooting capabilities, the GH1 can continuously autofocus while recording videos. Its contrast–detect AF system allows this capability unlike the phase–detect systems in common digital SLRs like the Nikon D90 and the Canon EOS–5D Mark II. The new 14 megapixel sensor takes some cues from the Lumix LX3 by having various aspect ratios for its images. The GH1 can now do 4:3, 3:2, 16:9, and 1:1 which provides for more creative possibities. If only this retails much less than the cheapest SLR cameras from Canon and Nikon, I just might want one.
I’m sure you’ve seen this wonderful–looking compact camera announced by Olympus several months ago. It’s supposed to be built on the relatively new “Micro Four Thirds” format which is basically just a reworking of the original Four–Thirds sensor size. But more importantly, the changes allows manufacturers to produce compact cameras just like the one shown above. I’m sure this one would give my LX3 a run for its money, considering the larger sensor size and other advantages that come with it. And most important of all, interchangeable lenses! I can’t wait for the summer!
Finally, a camera maker does the right thing they should’ve done a long time ago. Nikon has just announced a DX lens that will surely be the new favorite normal lens for everyday DX shooters — the AF-S DX Nikkor 35mm f/1.8G.
Set at USD $199, though not exactly cheap, is a reasonable price for a fast aperture lens that provides a field of view close to the traditional 50mm normal lens. With not much alternatives, Nikon may be poised to sell this like pancakes. Based on recent cheap Nikon lenses like their kit offerings, the 35mm DX should be a decent performer good enough for most photographers.
I can’t help but wonder if Canon would do the same, because they should.
NIKON INTRODUCES THE FASTEST DX-FORMAT LENS TO DATE: THE AF-S DX NIKKOR 35MM f/1.8G
MELVILLE, N.Y. (Feb. 8, 2009) – Nikon Inc. today announced the AF-S DX NIKKOR 35mm f/1.8G lens, which is the first fixed focal length, fast-aperture DX-format lens that affords photographers superb image quality along with the creative possibilities and versatility of the classic 50mm focal length (FX-format equivalent of 52mm). When mounted on a DX-format camera body, it enables photographers to document their world with a lens that produces a picture angle similar to the field of vision as seen through the human eye. Whether new to D-SLRs or a seasoned enthusiast, users will appreciate the extreme low-light performance and the expanded ability to dramatically separate the subject and background with the new 35mm DX lens’ wide f/1.8 aperture.
“The development and release of the 35mm f/1.8 NIKKOR lens delivers new and added versatility to the Nikon DX-format digital SLR system and provides DX-format photographers with a broader range of fast-aperture lens options,” said Edward Fasano, general manager for marketing, SLR Systems Products at Nikon Inc. “This f/1.8 prime lens provides users with exceptional control of background and foreground, superb low-light ability, and the natural focal length that has been the staple of photography since its inception.”
Lightweight, compact and affordable, this lens can easily become a fast favorite for any level of photographer, and is the perfect complement to D60 users who are just starting to learn D-SLR photography or enthusiasts who love their D90. The AF-S DX NIKKOR 35mm f/1.8G lens is ideal for travel, general photography, landscape shooting, portraiture or pushing creative boundaries. The stunning sharpness, clarity and color reproduction are all proof positive of more than 75 years of NIKKOR heritage and experience in optics engineering.
This lens continues the tradition of NIKKOR precision optics to provide photographers with sharp, high-resolution images and the ability to focus as close as 0.98 feet, while the integration of an ultra-compact Silent Wave Motor ensures fast, whisper-quiet AF operation.
The 35mm DX lens construction consists of eight elements in three groups, with an aspherical element to reduce size and weight, while contributing to the enhanced balance when mounted on a smaller DX-format D-SLR. A rounded diaphragm opening combined with the nine-blade aperture contributes to a substantially more circular bokeh for a more natural appearance of out-of-focus background elements. Additionally, instances of lens flare and chromatic aberration are suppressed using Nikon’s exclusive Super Integrated Coatings, which also help ensure vividly accurate color balance.
The AF-S NIKKOR 35mm f/1.8G lens is scheduled to be available at Nikon authorized dealers beginning March 2009 at an estimated selling price of $199.95.* For more information, please visit www.nikonusa.com.
About the NIKKOR brand
With a full family of FX and DX-format lenses and focal lengths, from the ultra-wide 10.5mm fisheye to the super-telephoto 600mm VR, NIKKOR customers have come to rely upon Nikon’s optical superiority and the support of NIKKOR core technologies, of which the new 35mm DX lens is a prime example. NIKKOR is the brand name for Nikon’s photographic lenses, which was created by adding an “R” to “NIKKO”, an abbreviation of Nippon Kogaku K.K., the original company name of Nikon Corporation at the time of its founding. In 1933, Nikon marketed its first camera lens under the NIKKOR brand name, the “Aero-NIKKOR” for aerial photography applications. Since then, NIKKOR has been used as a brand name for Nikon’s lenses that symbolizes durability, high image quality and optical excellence.About Nikon
Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; COOLSCAN® digital film scanners; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics. For the second consecutive year, Nikon D Series digital SLR cameras are recognized as “Highest in Customer Satisfaction with digital SLR cameras, Two Years in a Row, Tied in 2008.” according to the J.D. Power and Associates 2007 and 2008 Digital Camera Usage and Satisfaction StudiesSM. Nikon Corporation, the parent company of Nikon Inc., recently celebrated its 75th anniversary of NIKKOR optics and announced the production of over 45 million NIKKOR SLR interchangeable lenses. For more information, dial (800) NIKON-UX or visit http://www.nikonusa.com, which links all levels of photographers to the Web’s most comprehensive photo learning and sharing communities.
# # #*Estimated selling price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.
For J.D. Power and Associates award information, go to jdpower.com
Yes, what was just a rumor a few days ago is now an official camera — the Nikon D3X. We had most of the specifications right since Nikon basically gave everything away from the very beginning, except of course for the “official news” tag. It will be everything we’d want in a top–level SLR, and then some. Here’s more of the specs as listed on DCResource:
With the D3 and the D3X at the top of Nikon’s lineup, they’ve now got two full–frame cameras catering to the needs of sports photographers that require fast frame rates and a high–resolution variant for portrait shooters and fashion. This combo appears better than Canon’s 1Ds + 1D pair, which might suggest that the 1.3x crop factor on the quick–shooting 1D series may soon be a thing of the past. If I were Canon that’s what I’d do.
Yes, it’s now confirmed, the Canon EOS-5D Mark II is a real camera! After months (or was it years?) of speculation on how Canon would update the full–frame 5D, it is now finally here. Unfortunately, it’s not even close to the rumored 5D update we wrote about last March.
Highlights of this new camera:
Not to be outdone by Nikon’s D90, movie recording is available at HD 1080p, besting the Nikon which maxes out at the not–too–shabby 720p setting. Certainly, most of the changes are evolutionary, except for the new CMOS sensor which stands out, almost doubling the 12–megapixel model it replaces. And with sensitivity expansion reaching ISO 25600, the 5D Mark II will certainly be in the bags of Canon–shooting pros pretty soon.
Tamron has just announced the Tamron SP AF 10–24mm f/3.5-4.5 Di II LD Aspherical (IF), a new ultrawide that should supersede the slower Tamron SP AF11–18mm F/4.5-5.6 Di-II LD Aspherical (IF) which they’ve offered as a wide–angle alternative for Canon and Nikon shooters for a while now.
The range for this ultrawide is better than similar offerings and is even better than the Canon EF–S 10–22 mm, one of the better ultrawide lenses for APS–C cameras. It also shares the same max aperture throughout the range, putting it in direct competition with the Canon lens. If it sells for much less than the Canon 10–22, the Tamron 10–24 should be a good seller especially if it inherits the excellent optical qualities of Tamron’s 28–75 and 17–50 f/2.8 zooms.
Now the digital SLR market is getting undoubtedly interesting. The recent announcement of a DSLR that can do high–definition videos in the Nikon D90 got everyone listening, and now we have the first full–frame camera for the Sony Alpha system, the Sony Alpha 900. This provides a full–frame option for Minolta/Konica–Minolta shooters as well as those betting on the Sony Alpha DSLR system. Not that I think there are many of those, but having a third full–frame capable system puts pressure on the rest of the market, surely making cheap full–frame DSLR cameras a reality in the next few years.
Sony’s venture into full–frame would make Canon and Nikon think twice about their products, making it no longer simply a technogical race, but also a price–driven battle. And since we know that Sony also sells their sensors to other manufacturers, it wouldn’t be far–fetched to see Pentax and Samsung with full–frame digital SLR cameras in the next few months.
And as if it matters in a big way, here’s the specs for the Sony Alpha 900:
As always, DPReview gets the first stab on this camera with their preview of the Sony Alpha 900.
The AF-S DX NIKKOR 18-105MM F/3.5-5.6G ED VR is a new image–stabilized (using Nikon’s Vibration Reduction technology) zoom lens created as the kit lens for the new Nikon D90. On paper, it is a good lens with a long and usable range that will appeal greatly to first–time digital SLR buyers. The only thing that makes it look bad is the Nikon 18–200 VR of course.
Here’s more on the 18–105 DX VR:
No reports on pricing yet as it seems it will only be available as part of the D90 kit.