Pentax X5 Review

The Pentax X-5 features an impressive 26x optical zoom, full manual control, a tiltable LCD screen and design styling akin to the manufacturer’s range of DSLRs. Furthermore, the X-5 is priced so as not to break the bank and thus is an appealing prospect. As to how is fares in our test, you’ll have to read on to find out.

Owing to the combination of a large focal range, compact body, full manual control and invariably a high specification, bridge cameras continue to be popular with consumers. More often than not they are seen as the first step up in to more advanced photography, and in many cases judged as a reasonable alternative to a DSLR for those not wanting to deal with a selection of removable lenses.

On the face of it the Pentax X-5 seems like just such a camera – ticking all of the boxes with regards to imaging specification, whilst bearing more than a few similarities to models in Pentax’s DSLR line-up, almost a K-5 lite.

Pentax X-5 review – Features

The chief selling point of the Pentax X-5 is the model’s large optical zoom. The Pentax X-5 features a 26x optical zoom that covers a focal range with an impressive wideangle of 22.3mm through to a tele end of 580mm. The zoom benefits from Pentax’s dual shake-reduction system – a combination of sensor-shift and digital shake reduction – which will no doubt ease any worries about sharpness at the tele end of the zoom. There’s also the added bonus of extra close-up functionality, with the Pentax X-5 capable of capturing images at a focal length of just 1cm.

The model’s 26x optical zoom is paired with a 1/2.33in BSI CMOS sensor that features an effective resolution of 16 megapixels. The sensor is supported by Pentax’s ‘Super Resolution’ technology that is aimed specifically at image processing performance. The sensor also supports full HD video capture at a resolution of 1080p and 30 frames per second although, somewhat unfortunately for a bridge camera, the Pentax X-5 does not offer Raw capture.

On the rear of the Pentax X-5 sits a 3in LCD screen with a resolution of 460k-dots. A major selling point with the LCD screen that it’s tiltable and can be pulled away from the body of the camera and rotated around a range of horizontal angles. Unfortunately the hinge of the LCD screen is poorly implemented – while it allows the screen to sit at 90 degrees to the body facing upwards, it only allows a 45 degree angle facing downwards, and overall the Pentax X-5 feels a lot more restrictive than the side-hinge variety found on other models.

Accompanying the vari-angle LCD screen is an electronic viewfinder, something that is always popular with bridge camera owners. The viewfinder features a resolution of 230k-dots and, although it is lacking in eye sensor technology, the Pentax X-5 does offer dioptre adjustment if necessary.

Despite not offering Raw capture, the Pentax X-5 does cater well for the advanced photographer. The model features a program shooting mode as well as full manual control. Other shooting settings available on the mode dial include a full auto setting, a range of scene modes and a handheld night setting that takes a series of images and then blending them together in camera for one well-exposed shot. One final option for those looking for the easier route towards good images is Pentax’s proprietary ‘Green’ shooting mode, which takes care of every camera setting in a single press.

One final point of note regards the Pentax X-5’s specification is the way in which the camera is powered. The model necessitates four AA batteries, rather then the standard Li-ion rechargeable unit that’s now common in digital cameras. This can be something of a mixed blessing – while it does mean that replacement batteries are readily available should the ones you’re using run out in the field, although if the performance isn’t up to scratch then this can involve lots of costly trips to the shops if you’re not using rechargeable AAs.

Canon EOS M Review

This is an in-depth review of the Canon EOS M camera that came out on July 23, 2012, the first mirrorless interchangeable-lens camera from Canon. Along with the EOS M, Canon also announced the first two lenses for the new “EF-M” mount: Canon EF-M 18-55mm f/3.5-5.6 IS STM and Canon EF-M 22mm f/2 STM. Among major camera manufacturers, Canon was the last to enter the mirrorless market. Aside from Panasonic and Olympus sharing the same Micro Four Thirds sensor and Nikon going with a smaller “CX” sensor, all other manufacturers chose large APS-C sized sensors (Samsung, Sony, Fuji and Pentax), each with its own proprietary lens mount. With the introduction of the EOS M system, Canon has officially joined the APS-C club. Instead of developing a new sensor format, Canon chose to reuse the same 18 MP sensor from the EOS Rebel 650D / T4i DSLR camera. Canon also released an EF-M to EF / EF-S adapter for mounting existing and future DSLR lenses on the EOS M, with full compatibility with all lens functions such as autofocus and image stabilization. In this review, I will go over the features and capabilities of the camera and compare it to other mirrorless options, including Nikon 1, Sony NEX series and Olympus OM-D E-M5.

With its arch-rival Nikon debuting the Nikon 1 CX mount with a smaller 2.7x crop factor sensor a year earlier, Canon made sure that the 1.6x crop factor APS-C sensor was in the headlines of its announcements, with “The Quality of a Canon DSLR” title being a major part of the initial marketing effort. I spent over two months with the Canon EOS M while testing other mirrorless cameras for my “Battle of the Mirrorless” series, so I will be doing a lot of comparisons of the EOS M to other cameras in this review, along with discussing the strengths and weaknesses of the camera. Let’s take a look at the Canon EOS M in detail.

1) Canon EOS M Specifications

Main Features:

1. 18 MP CMOS image sensor, 4.3 µm pixel pitch
2. ISO 100-12800 native, expandable to 25600 in H mode)
3. Hybrid CMOS AF (phase-detection AF/contrast-detection AF)
4. 31 AF points
5. 3″ Touchscreen LCD with 1040K dots
6. Full 1080p HD movie shooting 30p/24p/25p
7. Face Detection + Object Tracking AF
8. 4 Standard “Creative Zone” Exposure Modes (Program, Shutter Priority, Aperture Priority and Manual) and 8 additional presets
9. Battery life for up to 230 shots
10. Vertical-travel, mechanical, focal-plane shutter with all speeds electronically-controlled (1/4000 max)
11. Compatible with Canon EF and EF-S lenses via an optional EF-EOS M mount adapter
12. Standard size flash hot shoe
13. Up to 4.3 fps continuous shooting

Nikon D800 Review

This is an in-depth review of the new Nikon D800 camera, one of the most anticipated DSLRs from Nikon that the photography community has been impatiently waiting for more than a year now. The camera was supposed to be released in the summer of 2011, but due to several natural disasters that heavily impacted Nikon’s capability to produce cameras both in Japan and in its Thailand factories, its launch was delayed until February of 2012. There has been a lot of hype about the D800 and while our team has been posting quite a few articles about this camera, there are still many questions pouring in on a daily basis from our readers about its features, capabilities, limitations and performance, especially when compared to the older cameras like Nikon D700, D3, D3s and the new Nikon D4. In this review, I will not only provide detailed information about the Nikon D800, but will also try to answer the many questions that we have gotten so far on the camera, along with comparisons to other DSLRs. Specifically, the comparison includes sensor ISO performance with the following DSLRs: Nikon D700/D3, D3s, Canon 5D Mark II, 5D Mark III and Fuji X-Pro 1 mirrorless camera.

Was it worth the wait? There has been a lot of buzz about the D800 before and after the camera was announced. One of the main reasons is the popularity of the existing Nikon D700 camera and the sheer number of people, especially part-time and full-time pros, who were dying to upgrade their aging cameras. In addition, the production delay further fueled the heat and spiked up the interest from the photography community that was getting rather impatient, wondering what Nikon would bring to the table for the next several years in the full-frame arena.

As you will see further down in this review, I consider the Nikon D800 to be a breakthrough camera, something we have not seen since Nikon introduced its first full-frame D3. While we have seen some amazing products from Nikon, they were all evolutionary, with minor upgrades, tweaks and changes here and there. The D800, on the other hand, is a revolutionary product that once again raises the bar on image quality, dynamic range, autofocus and even noise performance – all without the high price tag of a pro camera attached to it. Sure it has its share of problems with its rather slow speed (FPS) and average battery life, but these problems are rather insignificant, given what we are getting as a total package. Think of the D800 as a beefed up D3X, just in a smaller body, at 40% of the cost. How is that not revolutionary? And the D800 just happens to set a new world record in full-frame resolution.

But wait, what about all those photographers that anticipated a camera with the same sensor as on the Nikon D4, the ones that do not particularly care for high resolution? Did Nikon leave them all out with the D800, forcing them to jump to the expensive D4? Before I answer this question, let me first give a brief history of the D800, along with my analysis on why Nikon decided to take a different route with its full-frame line this time.

1) A Brief History and Analysis

I remember the day when I first read the rumor about the D800 and its 36 MP sensor. I quickly dismissed it, because it sounded completely unrealistic to me. With Nikon putting so much focus on image quality in its full-frame line with the D700, D3 and later D3s, and keeping the megapixel count low at just 12 MP (while the competition had been only increasing the number of megapixels in their new cameras), I only pictured the D700 replacement to be a very modest update in terms of resolution. Maybe something similar to the D7000, with a 16-18 MP sensor. Plus, a 36 MP full-frame sensor just did not fit in with the existing super expensive D3X that was specifically targeted for high-resolution applications.

As you may already know, the Nikon D700 was announced about a year after the D3 came out in 2007. Nikon did not have the time and resources to create a separate product line like Canon did with its original 5D, so it decided to borrow the sensor along with most features from the D3. Aside from the slower fps speed (that you could increase with a grip), smaller body & battery and 97% viewfinder coverage, the Nikon D700 was almost the same as the Nikon D3 – some even dubbed it “the D3 brother”. Needless to say, the Nikon D700 was an instant success.

100% crop from the center of the frame:

On the grand scale, however, the D700 became a problem for Nikon – it heavily cannibalized the D3 sales. Why spend $5K on the D3, if you could get a smaller and lighter camera with almost the same features for $2,000 less? And if you really wanted, you could push the D700 to be almost like the D3 by adding a grip and D3 batteries. Consumers were quick to react to this opportunity and Nikon soon realized that it made a mistake by letting one product line compete head to head with another. But it was too late – the D700 was already too popular. Nikon released the 24 MP D3x shortly thereafter, which proved to be a marketing failure due to its inflated price (despite being a superb camera for high-resolution work). Nikon’s professional line suffered all the way until the Nikon D3s was released in October of 2009, which finally created more demand for the top-of-the-line professional cameras once again. With the highly successful D700, well-performing D3s and failed D3x lines, it was clear that Nikon had to come up with a better strategy for positioning and pricing its full-frame cameras.

In January of 2012, the Nikon D4 was announced with a 16 MP sensor, which seemed in line with what I was expecting in terms of resolution. A very modest update in megapixels, different ergonomics and plenty of new features including a revamped autofocus system that works at f/8. We all knew the D800 was around the corner, but still, the biggest question remained – would it have D4’s 16 MP sensor or the rumored super high-resolution 36 MP sensor? Within a month from the D4 announcement, Nikon finally announced the Nikon D800 with a 36.3 MP sensor. Why did this happen and what caused Nikon to change its direction in this full-frame line?

As I have already explained in my “benefits of a high-resolution sensor” article before, I believe Nikon made a smart move in positioning its current and future full-frame (FX) lines. Rather than offering three or more product lines with different performance characteristics and features, it makes a whole lot more sense to have just two distinct cameras – one general-purpose, high-resolution camera (D800) and one advanced high-performance camera specifically targeted for sports, news and wildlife photography (D4). This move obviously eliminates the D3x line and sends a message that we might never see another high-end, high-resolution full-frame camera from Nikon. But in fact, I believe this could actually lead to an introduction of a medium format camera from Nikon in the future… But that’s a whole different topic of discussion.

Traditionally, DSLR cameras with very high resolution have been categorized as specialized tools for landscape, macro and studio photography. With the introduction of the D800, many photographers thought that Nikon is specifically targeting one group of photographers, while completely ignoring others. In fact, as you will see later on in this review, it is actually not the case. There is a reason why I called the Nikon D800 a “general-purpose, high-resolution” camera – because it can be effectively used for any sort of photography. There is a common misconception among the photography community about the size of pixels and their impact on image quality and noise, especially when comparing one sensor to another. If a sensor packs a lot of pixels, it is often assumed that it will perform much worse in low light at high ISO when compared to a sensor with less and bigger pixels.

In fact, it all depends on how you perform this comparison. When a high-resolution image is down-sampled to a lower resolution, its noise characteristics can actually improve dramatically (see my articles on down-sampling). So when comparing a 36 MP image to a 12 MP image, why would you look at both at 100%? Clearly, the 36 MP image would print much larger in size, so it is only fare to compare sensors at the same print size. See this example of just how much bigger the 36.3 MP image is from the D800 in comparison to the 12.1 MP image from the D700:

By down-sampling 36 MP to 12 MP, you would not only reduce the amount of noise, but you could also make the image appear sharper. As I reveal in the following pages of this review, the down-sampled Nikon D800 images look exceptionally good, even when compared to the high-end Nikon D4. There is a reason why the new sensor is rated as #1 by DXOMark among all sensors produced to date. In addition, a high-resolution image has a lot more room to work with for cropping and can produce exceptionally good-looking images at low ISO levels, perfectly suitable for huge prints. Hence, when looking at the Nikon D800, one has to be fully aware of the many advantages of a high resolution sensor and the benefits of the down-sampling process.

Let’s move on to the camera details!

2) Nikon D800 Specifications

Main Features and Specifications:

1. Sensor: 36.3 MP FX, 4.8µ pixel size
2. Sensor Size: 35.9 x 24mm
3. Resolution: 7360 x 4912
4. DX Mode: 15.3 MP
5. DX Mode Resolution: 4800 x 3200
6. Native ISO Sensitivity: 100-6,400
7. Boost Low ISO Sensitivity: 50
8. Boost High ISO Sensitivity: 12,800-25,600
9. Processor: EXPEED 3
10. Metering System: 3D Color Matrix Meter III with face recognition and a database of 30,000 images
11. Dust Reduction: Yes
12. Weather Sealing/Protection: Yes
13. Body Build: Full Magnesium Alloy
14. White Balance: New White Balance System
15. Shutter: Up to 1/8000 and 30 sec exposure
16. Shutter Durability: 200,000 cycles, self-diagnostic shutter
17. Camera Lag: 0.012 seconds
18. Storage: 1x CF slot and 1x SD slot
19. Viewfinder Coverage: 100%
20. Speed: 4 FPS, 6 FPS in DX mode with optional MB-D12 battery pack
21. Exposure Meter: 91,000 pixel RGB sensor
22. Built-in Flash: Yes, with Commander Mode, full CLS compatibility
23. Autofocus System: Advanced Multi-CAM 3500FX with 51 focus points and 15 cross-type sensors
24. AF Detection: Up to f/8 with 9 focus points (5 in the center, 2 on the left and right)
25. LCD Screen: 3.2 inch diagonal with 921,000 dots
26. Movie Modes: Full 1080p HD @ 30 fps max
27. Movie Exposure Control: Full
28. Movie Recording Limit: 30 minutes @ 30p, 20 minutes @ 24p
29. Movie Output: MOV, Compressed and Uncompressed
30. In-Camera HDR Capability: Yes
31. Two Live View Modes: One for photography and one for videography
32. GPS: Not built-in, requires GP-1 GPS unit
33. Battery Type: EN-EL15
34. Battery Life: 900 shots
35. USB Standard: 3.0
36. Weight: 900g
37. Price: $2,999 MSRP

A detailed list of camera specifications is available at NikonUSA.com.

source:photographylife

Nikon D4s Review

Exactly after two years since the Nikon D4 announcement, Nikon made the D4s public at the 2014 Consumer Electronics Show (CES) on January 6, 2014. Although the camera was not ready for a full announcement, Nikon wanted to have something to show at the CES, so it only hinted about the development of the camera and its intentions to preview it. The camera was officially announced at the end of February and the first units started to ship shortly after in March. The Nikon D4s is a modest upgrade over the D4, with very slight ergonomic changes, expanded ISO range, faster image processor, faster wired / Ethernet speed, improved battery capacity and a bunch of new firmware options. As an incremental update, the Nikon D4s basically solidified the already superb D4 and made it even better.

Although I had plans to review the D4s earlier this year, my hectic summer schedule and work commitments kept me too busy and I was not able to get it published. I wrote some notes from using the camera when I had it for a few months, then went back and added more again after getting my hands on the camera again later. Since my time with the camera was rather limited, I requested our wildlife gurus Thomas Redd and John Lawson to use the camera and provide their feedback on what they liked and did not about the camera. Thus, this review is yet another collective effort from our team, which hopefully makes it more balanced and objective than if I were to solely do it by myself.

NIKON D4S @ ISO 1600, 1/250, f/11.0

Without a doubt, the top-of-the-line Nikon DSLR line is the most feature-rich, responsive and most capable cameras, and the D4s is not an exception. While the exterior of the D4s is practically identical to the D4 (more on ergonomic changes on the next page), the inner core is where the camera got the most upgrades. The 16.2 MP sensor got a boost in native sensitivity range, going from ISO 100 to 25,600, which is a stop higher than what the D4 had. The camera’s metering and white balance systems got tweaked with more features. The autofocus system was improved with more features and faster shooting rate of 11 fps with full time autofocus (versus 10 fps on the D4). While these might look like very small incremental changes that are not worth upgrading for, even slight improvements in autofocus performance might pay the price of the camera for a working professional. And that’s where the Nikon D4s delivers. Thanks to the new EXPEED 4 processor that is 30% faster than its predecessor, the camera can handle data much faster, giving a significant boost in overall performance. And this is not coming from Nikon’s specifications or data sheets – our team immediately noticed the camera to be faster and more responsive in autofocus operation, particularly in continuously tracking fast-moving subjects. The faster processor also allowed Nikon to push more data for capturing high definition video and the D4s is now capable of recording HD videos at up to 60 frames per second. Along with the ability to pick different crop modes, full exposure control, uncompressed HDMI output and the ability to record videos to both internal memory and external recorders, the Nikon D4s is also a very capable camera for videography needs. Sadly, despite the industry’s push to ultra high resolution 4K video, the D4s still lags behind when compared to other manufacturers like Sony and Panasonic.

NIKON D4S @ ISO 800, 1/250, f/11.0

However, all these nice changes come at a cost – at $6,500, the D4s is not a cheap camera. It is the second most expensive DSLR in Nikon’s history after the ridiculously expensive D3x (which was priced at $7,999 MSRP when it was announced and still currently sells for $6,999). If we roll the date back to 2007, we can see that the original D3 was priced at $5K. When the D3s came out in 2009, Nikon raised the camera’s price by $200 to $5,199. Three years down the road, the new and shiny D4 comes out with a $6K price tag attached to it – an $800 increase. And finally, the D4s gets another $500 increase on top. Compared to the original D3, that’s a $1500 price difference! If we adjust prices for inflation since 2007 (without taking into account currency conversions), the D4s should have been around $5,700 – $800 lower than what Nikon wants for the camera. Nikon knows that those who own their top-of-the-line cameras will want to continue upgrading when new models come out. Plus, by intentionally crippling lower-end FX camera bodies and holding off on high-end DX line, Nikon has been trying to get as many people as possible to move up to the D4 line. I also suspect that the Nikon D4s pricing was increased in response to Canon’s $6800 price on its 1D X camera, since they are the same class cameras.

NIKON D4S @ ISO 12800, 1/1600, f/6.3

1) Nikon D4s Specifications

Main Features:

1. Sensor: 16.2 MP FX, 7.3µ pixel size
2. Native ISO Sensitivity: 100-25,600
3. Boost Low ISO Sensitivity: 50
4. Boost High ISO Sensitivity: 51,200-409,600
5. Processor: EXPEED 4
6. Dust Reduction: Yes
7. Shutter: Up to 1/8000 and 30 sec exposure, self-diagnostic shutter monitor
8. Shutter Durability: 400,000 cycles
9. Camera Lag: 0.012 seconds
10. Storage: 1x Compact Flash slot and 1x XQD slot
11. Viewfinder Coverage: 100%
12. Speed: 11 FPS
13. Exposure Meter: 91,000 pixel RGB sensor
14. Autofocus System: Advanced Multi-CAM 3500FX with 51 focus points and 15 cross-type sensors
15. AF Detection: Up to f/8 with 11 focus points (5 in the center, 3 on the left and right)
16. LCD Screen: 3.2 inch diagonal with 921,000 dots
17. LCD Screen Calibration: Yes
18. Movie Modes: Full 1080p HD @ 60 fps max
19. Movie Exposure Control: Full
20. Movie Output: MOV, Compressed and Uncompressed
21. Wired LAN: Built-in Gigabit RJ-45 LAN port
22. WiFi: Not built-in, requires WT-5a and older wireless transmitters
23. GPS: Not built-in, requires GP-1 GPS unit
24. Battery Type: EN-EL18a
25. Battery Life: 3,020 shots
26. Weight: 1,180g
27. Price: $6,499.95 MSRP

source:photographylife

Fuji X-Pro1 Review

This is an in-depth review of the Fuji X-Pro1, a highly anticipated mirrorless interchangeable-lens camera. Built on the success of the Fuji X100 and aimed at pros and photo enthusiasts that need a lightweight camera alternative to a DSLR with amazing image quality, the Fuji X-Pro1 is the first mirrorless interchangeable-lens camera from Fuji. Along with the X-Pro1, Fuji simultaneously introduced three prime lenses – Fujinon 18mm f/2.0 XF R, Fujinon 35mm f/1.4 XF R and Fujinon 60mm f/2.4 XF Macro, all specifically designed to be used for the new Fuji X mount. In this Fuji X-Pro1 review, I will not only provide detailed information about the camera, but will also try to answer the many questions that we have gotten so far on the camera from our readers, along with comparisons to Nikon and Canon DSLRs.

I had an opportunity to work closely with the Fuji X-Pro1 on two separate occasions – once when the camera initially came out back in 2012 and again in the summer of 2013, after the latest 3.01 firmware update was released. I had a number of complaints about the X-Pro1 in my original review, because the camera was full of bugs and autofocus problems. The latest firmware 3.01 addressed many of those concerns, so I am simply revisiting the same review and re-evaluating the camera based on my latest findings.

I originally stated that I had “a love and hate” relationship with the Fuji X-Pro1, because there were a lot of things I both loved and hated about it. I loved the compactness of the camera, the feel, the looks and the stunning images the camera is capable of taking. What I hated was the unreliable autofocus system, painful manual focus and plenty of other bugs and issues I encountered while evaluating the camera. Since its launch, Fuji has been working hard on addressing most of the concerns via firmware updates and as of today, it is a completely different tool compared to what it was before. Let’s take a look at the camera in more detail.

1) Fujifilm X-Pro1 Specifications

Main Features and Specifications:

1. Sensor: 16.3 MP (1.5x crop factor), 4.8µ pixel size
2. Sensor Size: 23.6 x 15.6mm
3. Resolution: 4896 x 3264
4. Native ISO Sensitivity: 200-6,400
5. Boost Low ISO Sensitivity: 100
6. Boost High ISO Sensitivity: 12,800-25,600
7. Sensor Cleaning System: Yes
8. Lens mount: FUJIFILM X mount
9. Weather Sealing/Protection: No
10. Body Build: Full Magnesium Alloy
11. Shutter: Up to 1/4000 and 30 sec exposure
12. Shutter Control: Focal Plane Shutter
13. Storage: 1x SD slot (SD/SDHC/SDXC compatible)
14. Viewfinder Type: Hybrid Multi Viewfinder with 100% coverage in Electronic mode
15. Speed: 6 FPS
16. Exposure Meter: TTL 256-zones metering
17. Built-in Flash: No
18. Autofocus: Yes
19. Manual Focus: Yes
20. LCD Screen: 3 inch diagonal with 1,230,000 dots
21. Movie Modes: Full 1080p HD @ 24 fps max
22. Movie Exposure Control: Full
23. Movie Recording Limit: 29 minutes
24. Movie Output: MOV (H.264)
25. GPS: No
26. Battery Type: NP-W126
27. Battery Life: 300 shots, 900 in power save mode
28. USB Standard: 2.0
29. Weight: 400g (excluding battery)
30. Price: $1,699 MSRP body only at launch (currently sells for around $1,199)

source:photographylife

Fuji X-E1 Review

This is an in-depth review of the Fujifilm X-E1 mirrorless interchangeable-lens camera, which was released on September 6, 2012 right before the Photokina event in Cologne, Germany. After the success of the X100 line and the release of the X-Pro1 (which initially received a rather mixed review from us due to its poor AF performance), Fuji introduced the X-E1 – basically a lower-end version of the X-Pro1. It was not an unexpected move, given how quickly Fuji was growing in popularity, thanks to its amazing retro design and excellent image quality. Despite its autofocus flaws and other quirks, both the X100 and the X-Pro1 created a huge fan base and a healthy community of supporters. The X-Pro1 was an expensive camera aimed at professionals and enthusiasts, so the X-E1 was naturally targeted as a more budget version with less features. In this Fuji X-E1 review (based on Firmware 2.00), I will provide detailed information about the camera, along with some image samples, and compare it to other cameras from Nikon, Canon and Olympus.

As usual, my goal was to thoroughly test the camera, especially its autofocus performance and accuracy (which historically has been a problem area for newly released Fuji cameras) and evaluate it for both personal and professional photography. As some of our readers might already know, I picked Micro Four Thirds as my mirrorless system of choice last year and I have been shooting with the Olympus OM-D E-M5since then. I loved everything about the X-Pro1, except for its bugs and AF performance, so I ended up dismissing the Fuji system completely last year. Since then, a number of our readers have been asking me to re-evaluate the X-Pro1 and review the new lines of Fuji cameras, including the X-E1. Fuji has been working hard on updating the reported issues and improving autofocus performance through firmware updates, so it made sense to revisit the Fuji X-Pro1. After two months of heavy use, I am happy to say that the Fuji X-Pro1 is indeed a totally different camera compared to what it was initially. Naturally, I went back and completely rewrote my Fuji X-Pro1 Review, praising Fuji for fixing bugs and autofocus issues, and making the X-Pro1 an attractive choice for most photography needs today.

Similar to the X-Pro1, my experience with the X-E1 has been very positive, as you will see further down in the review. Without giving too many spoilers, let me just say that I have been enjoying the X-E1 immensely, even more than the X-Pro1. During the last two months, I have shot various events, engagements, weddings and have used the X-E1 for personal photography as well, so by now I have a pretty good idea about its strengths and weaknesses.

1) Fujifilm X-E1 Specifications

Main Features and Specifications:

1. Sensor: 16.3 MP (1.5x crop factor), 4.8µ pixel size, same as on X-Pro1
2. Sensor Size: 23.6 x 15.6mm
3. Resolution: 4896 x 3264
4. Native ISO Sensitivity: 200-6,400
5. Boost Low ISO Sensitivity: 100
6. Boost High ISO Sensitivity: 12,800-25,600
7. Sensor Cleaning System: Yes
8. Lens mount: FUJIFILM X mount
9. Weather Sealing/Protection: No
10. Body Build: Magnesium Alloy, Top and Front covers
11. Shutter: Up to 1/4000 and 30 sec exposure
12. Shutter Control: Focal Plane Shutter
13. Storage: 1x SD slot (SD/SDHC/SDXC compatible)
14. Viewfinder Type: 2,360,000-dot OLED color viewfinder
15. Speed: 6 FPS
16. Exposure Meter: TTL 256-zones metering
17. Built-in Flash: Yes
18. Autofocus: Yes
19. Manual Focus: Yes
20. LCD Screen: 2.8 inch, approx. 460,000-dot, TFT color LCD monitor
21. Movie Modes: Full 1080p HD @ 24 fps max
22. Movie Recording Limit: 29 minutes
23. Movie Output: MOV (H.264)
24. GPS: No
25. Battery Type: NP-W126
26. Battery Life: 350 shots
27. USB Standard: 2.0
28. Weight: 300g (excluding battery and accessories)
29. Price: $999 MSRP body only at launch (currently sells for $799)

source:photographylife

Nikon D810 Review

After more than two years since the successful launch of the Nikon D800 and D800E cameras, which shook up the photography industry with the high resolution 36.3 MP full-frame sensor, Nikon finally introduced an update to the cameras and combined the two into a single camera body. Although the new Nikon D810 has the same 36.3 MP resolution as its predecessors, it features a new sensor with an expanded native ISO range and comes with significant improvements to camera features, performance and ergonomics. In this review, we will take a closer look at these improvements and compare the performance of the D810 to other Nikon cameras.

So far our team at Photography Life has been shooting with the Nikon D810 for over a month (since the day it became officially available) and we have tested three samples of the camera to evaluate its performance for different types of photography including portraiture, wedding, landscape, astrophotography and wildlife. Hence, the review is a collective effort and will be presented from different perspectives of our contributors.

Before I delve into the review, let’s first go over the camera’s technical specifications and compare them side by side with the predecessors, the Nikon D800 and the D800E.

1) Nikon D810 Specifications

Main Features and Specifications:

1. Sensor: 36.3 MP FX, 4.8µ pixel size
2. Sensor Size: 35.9 x 24mm
3. Resolution: 7360 x 4912
4. DX Mode: 15.3 MP
5. DX Mode Resolution: 4800 x 3200
6. Native ISO Sensitivity: 64-12,800
7. Boost Low ISO Sensitivity: 32
8. Boost High ISO Sensitivity: 25,600-51,200
9. sRAW File Support: 12-bit uncompressed
10. Processor: EXPEED 4
11. Metering System: 3D Color Matrix Meter III with highlight weighted metering
12. Dust Reduction: Yes
13. Weather Sealing/Protection: Yes
14. Body Build: Full Magnesium Alloy
15. White Balance: New White Balance System with up to 6 presets
16. Shutter: Up to 1/8000 and 30 sec exposure
17. Shutter Durability: 200,000 cycles, self-diagnostic shutter
18. Camera Lag: 0.012 seconds
19. Storage: 1x CF slot and 1x SD slot
20. Viewfinder Coverage: 100%
21. Speed: 5 FPS, 6 FPS in DX / 1.2X mode, 7 FPS in DX Crop Mode with optional MB-D12 battery pack
22. Exposure Meter: 91,000 pixel RGB sensor
23. Built-in Flash: Yes, with Commander Mode, full CLS compatibility
24. Autofocus System: Advanced Multi-CAM 3500FX with Group Area AF
25. AF Detection: Up to f/8 with 9 focus points (5 in the center, 2 on the left and right)
26. LCD Screen: 3.2 inch diagonal with 1,229K dots
27. Movie Modes: Full 1080p HD @ 60 fps max
28. Movie Exposure Control: Full

Sony Alpha A5100 Digital Camera Review

Sony's camera team has been on a tear in the past year and a half, quietly assembling one of the more enviable top-to-bottom lineups on the market. The full-frame mirrorless A7 series won the company a number of awards, but stellar values like the compact A6000 and traditional DSLRs like the A77 II are also strong bets. These are all on top of Sony's best-in-class point-and-shoots, including the RX10and RX100 III.



Looking to add to what is already a very impressive and thorough lineup, Sony has decided to slip another model between the low-end A5000 and the aforementioned A6000. Enter: the new Sony Alpha A5100 (MSRP $549.99). The A5100 bumps last year's NEX-5T out of the current lineup, ending Sony's "NEX" era forever while borrowing most of the same tech from this year's eye-catching A6000.
Describing the A5100 isn't difficult; it's basically a slightly slower A6000 minus a few creature comforts. The notable absences: You don't get the A6000's EVF (electronic view finder), hotshoe, 11fps burst shooting, or the extended ISO range. That's all a bummer, but it's $100 cheaper than the A6000 and prices should continue to fall. On the other end consider that for just $70 more than the low-end A5000 you get higher resolution images, 60p video, and a host of other improvements.
All three of these new E-mount Alphas are mighty impressive, but can this middle child stand out from the pack?

Design & Handling

An advanced camera that meets novice shooters on their level.

Sony CyberShot RX100 III Review

 

If you want a pocketable high-end compact camera that offers it all, it looks as though Sony may have finally cracked it with the Cyber-shot RX100 III. This third-generation model delivers a large 1-inch sensor size, but rewrites the earlier RX100 rulebook with a new 24-70mm f/1.8-2.8 equivalent lens. It even squeezes a built-in retractable electronic viewfinder into the mix.

It all sounds great, until you cross eyes with the £700 launch price. But in the order of things Sony gets away with it: with Canon and Nikon failing to offer inspirational pocketable high-end compacts - and the larger-sensor models they do are more expensive and not as well specified - the RX100 III looks to be a step ahead. Is it worth scratching together the heap of cash required to buy one and, indeed, is the RX100 III the new king of compacts?

Mark III: What's new?

If you've been following the RX100 series since conception then you'll understand the premise: a pocketable compact with considerably larger-than-average sensor for premier image quality. The second-generation model, released a year after the original, updated the sensor, added a built-in hotshoe for accessories, and introduced a tilt-angle mechanism to the LCD screen on the rear. Both are still available at considerably smaller price points than they each debuted.

Enter the RX100 III and, again, there's another new sensor update despite retaining the same 20.1-megapixel resolution, but the new model does away with the 28-100mm equivalent lens of its predecessors and instead opts for a faster 24-70mm f/1.8-2.8 equivalent. This wider-angle but shorter top-end zoom in conjunction with the new retractable 1.44mm-dot electronic viewfinder makes it the most comprehensive of the trio. But also the most expensive.

Fujifilm X100T Review

If you're unfamiliar with the X100 series then get prepared to geek out. If you already know all about it then get prepared to be blown away by the Fujifilm X100T - because it's the best X100 model yet.

The reason is simple: the X100T brings an updated viewfinder, complete with parallax correction in manual focus and what the company is calling an "electronicrangefinder" feature too. And it's utterly brilliant.

n terms of build, the X100T is the same fine example of craftsmanship as the previous X100S and original X100 models. There's not much we can say to better our previous thoughts on that - this silver-colour, magnesium alloy construction is solid in both visual and physical terms.

If, that is, you like retro styling and the old school of thought when shooting, because the X100T has manual control dials and a fixed 23mm (which is a 35mm equivalent) f/2.0 aperture lens. No zoom to be found here. That's a staple of the X100 series though and it restricts working practice in a kind of beautiful way. The quality is the same tried and tested optical performance as in its predecessors, as is the APS-C sized 16-megapixel X-Trans II CMOS sensor.

But anyway, enough of what we already know - and, if not, then check out our original X100 review - and on to the good stuff. Namely the hybrid viewfinder that merges the worlds of optical and electronic into one unit. The Fujifilm X100T has a wider-than-100-per-cent field of view optical viewfinder, so you can see  subjects entering the frame before they're even in it. The edge of the frame is determined by an electronic overlay which shows up as a white border within the finder view.