Cameras and Lenses Seem (or Not) | Cameras and Pictures Defined

LEDE ON

The announce-arrive cycle seems to be getting longer. It was that new product bulletins meant the product was already on its method to, if not already within the backrooms of, retail shops. In the late teenagers, that transitioned to be extra announce, then ship inside a month. With the Sony FX5, we’re now within the announce, then greater than two months later it’ll present up period. Moreover, coupled with the truth that virtually each new digicam product of any be aware up to now 5 years has produced the infamous “demand is higher than expected” discover out of some sushi bar in Tokyo, I’d say that we’re totally in an period of Announce Disconnection. One has to wonder if the trade is turning into so irrelevant that they need to ship out smoke indicators each as soon as in awhile to remind folks gathered elsewhere that they’re nonetheless round. Nikon has managed three smoke indicators up to now this yr. Pentax (see under) has taken up sending untimely smoke indicators. 

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News

OMDS Announces New Entry Camera

OMDS designers lastly picked up their pens and designed a brand new digicam. The OM System PEN is one thing between the older E-P7 and the unique Olympus Pen-F, although it enters in the direction of the underside of the lineup at US$1000 (US$1300 with two lens package).  

Many of the exterior attributes of the brand new digicam seem like a modernization of the E-P7 utilizing the OM-5 II innards, although there are 4 vital modifications: (1) the brand new physique is climate sealed (IPX1 score); (2) there’s now a rangefinder-style built-in 2.36m dot viewfinder; (3) the Rear LCD is now articulating as a substitute of tilting; and (4) a brand new BLS-7 battery that produces 410 photographs (CIPA). At US$1000, the OM System PEN additionally bumps up in worth from the E-P7 it seems to be changing. 

Inside now we have a 20mp picture sensor and TruePic IX (once more, the OM-5 II variations). Stylistically, the brand new design does evoke some legacy look to it, significantly within the panda model of the digicam. There’s a cleaner look to this digicam than many earlier OMs, and the slight bump grip on the correct facet is a part of that. Personally, I don’t just like the place of the ON/ViewMode swap, as that knob is in a spot the place it’s going to get by chance triggered. I actually don’t perceive why the Japanese proceed to make any such design error, although it does maintain the the controls all to the correct and leaves the remainder of the highest plate clear.

The worth locations the OM System PEN effectively above the OM-D E-M10 Mark IV that’s nonetheless being offered, and effectively under the OM-3. My guess is that the E-M10 Mark IV has seen its final Mark. It by no means obtained the OM branding, and now it’s in a zone that may make it very tough for a low-volume producer resembling OMDS to make earnings from.

It is fascinating that this new digicam additionally appears to point a shift in branding for the corporate. It’s not Olympus. It’s not OMDS the corporate, however cameras and lenses are actually labeled as “OM System”. Some of this has to do with what trademarks OMDS inherited on the split from Olympus, but I’m surprised it took them this long to actually recognize the value in the OM portion and promote it to “system” status.  

A couple of further thoughts… 

First, I’m sure the PEN will sell quite well, particularly in Asia where the E-P models have done well. We’ll likely see a bump in OMDS unit volume again. But it essentially undercuts the OM-5 II, so I’d guess that we’re mostly going to see a shift of volume from one model to another, not a huge spike. The camera OMDS really needed is what I’ve been saying they should make for a decade now: a compact m4/3; Pen-styled, small, loaded with that computational tech provided by TruePic. That would have done more for their bottom line than the PEN we got. 

I mention the OM-5II for a reason: it’s not much different in size (mostly the small viewfinder hump and bigger front grip), and uses the same technology. However, the OM-5II does sport some key differences: IPX53 rating, one-stop better IS, UHS-II support, 1/8000 mechanical shutter, and a slightly faster maximum frame rate. What it doesn’t have that the PEN has is the new battery, a new subject detection function, and a second Custom setting on the Mode dial. I’d rather have the OM-5II than the PEN, I think.

Second, the current omsystem.com Web site page for the PEN has a lot of images on it that feel crunchy or uncompelling to me. The redhead, for instance, has blown skin on one side of her face and overly pink skin on the other. Focus is on her teeth, not her eyes. It’s just not a portrait I’d be highlighting. But other images on that page seem dull or incorrect, as well, and skin tones are all over the place. Perhaps OMDS thinks they’ll illustrating Profile Control, but if that’s what the results are, why would I want it?

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News 

A Week Full of Lenses

Besides Nikon’s Development Announcement of nine Z CINEMA lenses, one of which (50mm t/1.9) was on display at IBC (International Broadcasting Convention) this week, we also got a number of literal lens launches:

• OMDS introduced another new (third) version of the 14-42mm f/3.5-5.6 R kit lens with the PEN, now moving to the OM Syystem branding from the original Olympus one. In addition, the lens is now IPX1 rated, and can focus down to 5” (13cm), which gives it a maximum magnification just under 1:4.
• Sigma announced the much-leaked 85mm f/1.2 Art lens, as well as surprise 20-60mm f/2.8-4 Contemporary lens. Both lenses show up for the Sony E as well as the L-mount. The 85mm sells for a reasonable US$1600, and has all the features you’d expect from an upscale portrait lens. Up front you’ll need 82mm filters, though. The 20-60mm f/2.8-4 clocks in at US$850, and the MTF values show why it’s at that price and labeled Contemporary, as it fits more of a consumer than prosumer spec. It’s a reasonably compact lens
• Sony announced the FE-mount’s first fisheye zoom, the 8-14mm f/3.5G (US$1600). Very similar to the Nikon F-mount 8-15mm, this lens produces full frame circular fisheye effects at 8mm, and full frame 180° diagonal coverage at 14mm. Filters are done via a rear gel filter holder, as the front optic is a bit bulgy for filters. The most intriguing part of the press release was the photo that shows two Sony full frame box cameras mounted side-by-side, each with an 8-14mm out front. The implication here is for some sort of 3D virtual reality capture, though I don’t know how you’d get them exactly paired in terms of focus/focal length except perhaps at extreme ends of the focal range (and using the Zoom Lock buttons) and hoping the focus is close enough.
• TLS joined the “re-house NIKKOR AI/AI-S lens” crowd with nine lenses that use the original NIKKOR glass, but puts them in new precise and video-friendly casing (0.8 MOD rings, big bright lettering, along with an Arri or PL mount). So we get 15mm t/3.9, 20mm t/3, 24mm t/2.2, 28mm t/2.2, 35mm t/1.5, 50mm 5/1.3, 55mm 5/1.3, 58mm t/1.2, 85mm t/1.5, 105mm t/1.9, and 135mm t/2.1 options. You can have your own lens re-housed for £3950 or just buy a fully done set for US$50,000 should you not have a set of old NIKKORS laying around.

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News 

Pentax Stops Making DSLRs to Make DSLRs? 

In a 100% confusing official announcement, Pentax (Ricoh) announced that the current K-mount camera lineup is ending. To be replaced by a “new SLR concept” that will support the K-mount that will “take time” to develop. A lot of non-specifics in that statement.

The announcement has all kinds of head scratchers in it, some I’m sure intentional, some not. For instance, rather than using the term DSLR, they use the term digital SLR. I suspect that’s because what comes next is mirrorless, and the term they use is sloppy enough to include both DSLR and mirrorless. Then comes the confusion caused by “RICOH IMAGING will continue…” versus “next stage of PENTAX…” I sense a rebranding coming, perhaps similar to the OM System Pen, e.g. Ricoh Pentax or maybe even just Ricoh K. 

The K-mount itself is confusing in the announcement. That the future cameras not yet designed “…will leverage the K-mount legacy…” is different than saying “we’ll continue to use the K-mount.” As for “allow more people to enjoy the process of photography itself,” in several places the press release alludes to “an entirely new concept,” whatever that might be. FWIW, most other sites are claiming that the press release says that Ricoh is developing new Pentax DSLRs. That’s not the way I read it. Indeed the headline is “PENTAX Digital SLR Cameras Aim for a New Stage.” The word usage is specifically vague enough that what appears next may not be what we’d call a DSLR.

As for the discontinuation of current Pentax DSLRs—or should I say DSLR, as only the K1- Mark II still seems to be available—no specific time was given for that, either: “we will discontinue…” doesn’t indicate that they have already done so, as some sites are reporting. 

In essence, Ricoh/Pentax has basically said they’re going on a sabbatical to do some thinking and tinkering and try to reimagine themselves. Don’t bother to contact them, they’ll send you a postcard or two while they’re away.

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News 

Apple Introduced Their New Cameras Phones

Seems everyone was ready to get back to work after the Labor Day holiday. Apple introduced the iPhone 18 Pro (and Pro Max) with one of the big features being an f/1.48 lens on the main camera (24/48mm) with a user-controllable aperture diaphragm (down to f/4), new “pro controls,” additional photo styles, true subject focus tracking, 4K timelapse, front-and-back simlutaneous capture, and, not really played up in their announcement stream: reference image, Apple’s authenticity capability (only on the main camera).

Actual focal lengths (not the computed ones) are 13mm, 24mm, 48mm, 100mm, and 200mm in full frame equivalent values, though only the 24/48mm lens is fast aperture, using a larger image sensor (2.44 micron quad-pixel versus 1.4 micron quad-pixel). Apple outlines this as .5x, 1x, 2x, 4x, and 8x zoom, keying off 24mm (effective) being the focal length that’s based upon. Note that only the main (24/48mm) camera has changed from the iPhone 17 in terms of sensor and lens, the rest remains the same as on the iPhone 17 Max. Surprisingly, both the 18 Pro and 18 Pro Max versions have the identical new camera module, which was not what was rumored. The primary differences between those two phone models comes only in screen size (6.3 or 6.9”) and battery capacity. 

The new iPhone Duo, which is Apple’s new foldable smartphone, runs just main and ultra wide camera modules to provide 13-48mm (effective), or 2x in Apple’s rounding. One thing the Duo has that the 18 Pro models don’t is “Smart Take,” where the phone determines when to take snaps while you’re away from the camera posing. Think of it as Smarter Self-Time mode, where the image isn’t taken at a specific time interval, but rather when the phone’s analysis says that the scene in front of it has stabilized. The other camera difference in the Duo is that it features an under-display camera for FaceTime calls when using the larger, folded out display. 

It’s of course difficult to assess exactly how much, if any, image quality may have improved with this generation of iPhone without actually getting one and putting it to a real test, which I intend to do. 

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Explainer 

What is LOFIC?

You could have seen that acronym seem not too long ago in some articles about smartphones. Honor, Huawei, and Xiaomi have all launched merchandise with that expertise within the picture sensor, and Apple is rumored to be subsequent (iPhone to be launched in 2028). Current smartphones seem like utilizing Sony’s LYT-838 (50mp) or LYT-910 (200mp) sensors, however Apple’s personal design could find yourself being produced by Samsung. Moreover, Apple’s design is a stacked picture sensor that’s mentioned to include picture processing and noise discount within the added layer.

The acronym stands for Lateral Overflow Integration Capacitor and is the long-awaited fill-the-photosite-and-then-fill-it-again expertise some have been wanting for years. In essence, every photosite has two storage capacitors, a small one which retains filling, and a bigger one which collects what the smaller one retains acquiring. Ironically, the general full effectively capability of a photosite goes up by utilizing this method, regardless that the preliminary storage effectively could also be smaller (to guarantee that it’s totally used and acquire could be stored low). The values of each capacitors have to be learn, so that you additionally want some form of acquire mixing occurring downstream. 

Note that the actual profit being gained is usually extra spotlight element. When you see reviews of expanded dynamic vary attributed to LOFIC, the noise flooring shouldn’t be actually altering within the present chips. What is altering within the present implementations is the saturation level of the picture sensor is being raised. 

Currently, the one out there LOFIC picture sensors are all 4 adjoining pixels of the identical colour, although these are arrayed in a Bayer-type sample. Moreover, these sensors value extra to provide and use extra energy than the less complicated single-capacitor design. But the actual potential right here lies in getting HDR-like outcomes with out resorting to extra photographs, and the flexibility to deal with excessive distinction scenes with out blowing out the pixel knowledge. 

So this is applicable to large-sensor cameras, too, proper? I’m not satisfied of that, actually not within the quick time period. Our giant sensor cameras have very giant full effectively capacities in comparison with the chips being utilized in smartphones. If you’ve tried HEIF in your digicam and clicked on Adobe’s HDR button whereas viewing on a Retina show (HDR-capable), you could have been shocked to seek out that you have already got an enormous quantity of spotlight data that isn’t getting used successfully in 8-bit JPEG photographs (between one and two stops, sometimes). Fundamentally, although, we nonetheless have the issue of becoming giant seize dynamic vary into shows/prints which can be lowest frequent denominator. We nonetheless face the difficulty of the place will we put any additional dynamic vary and the way will we show it, and the algorithms for doing that may produce outcomes anyplace from crude (apparent) to first rate (not apparent). 

The actual subject behind prolonged dynamic vary is that this: are you displaying your photographs in methods that can use it? All of Apple’s present gadgets and shows can present extra dynamic vary than a JPEG can actually present. Your 4K tv in all probability can, too, as virtually all current ones are HDR-capable. 

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Commentary 

Right Thumb On/Off

I’m all of a sudden seeing cameras which can be turned on by one thing on the again right-top deck of the digicam. The OM System PEN (above) is a type of, however extra have and can seem. I get the design impulse: the consumer brings the digicam as much as their face and it’s off, the correct thumb is able to rapidly set off it on. But it’s additionally able to rapidly set off it off by chance. 

Sure, at the least a type of that I’ve used has a really stiff swap that’s not straightforward to maneuver, however that swap will get used rather a lot, and customarily the extent of switches Tokyo has been utilizing get much less stiff with use. 

There’s no excellent place to placed on/off. On the Nikon’s its achieved with a hoop across the shutter launch, and I’ve on uncommon events managed to set off that off once I didn’t need to. On many smaller cameras it’s as a substitute a small energy button close to the shutter launch, and infrequently not recessed sufficient or distinguishable sufficient from different buttons; at the least on the Nikon ZR the button is approach over on the facet of the highest plate the place I’m not interacting with something.

The incontrovertible fact that Tokyo retains experimenting with new controls and places for on/off signifies that they know that we customers have typically by chance triggered a digicam off simply once we needed to take an image, or stuffing the digicam within the bag turns the digicam on and makes use of battery whereas we’re not utilizing it. It’s a extremely powerful design subject, as I’m unsure we’ve but seen the “perfect” method. But this does converse to people who maintain switching cameras and types: you’re not prone to construct an on/off ability that turns into second nature, which implies some day you’ll miss a photograph or exhaust a battery or have settings modified by chance as a result of the digicam was on when it was being roughly dealt with.