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30 Articles

GOOD THINGS IN SMALL PACKAGES

In response to my ‘Comment’ piece in the last issue’s news section regarding EVFs -or, rather, the lack of them in so-called vlogging mirrorless cameras – a reader sent me an interesting email, adding some further observations which got me thinking about a related topic. In my ‘Comment’ piece I observed that if Canon could put a perfectly good EVF into the superbly-compact PowerShot G5X (the first-gen model, by the way), for example, then there really is no excuse for not having one in the likes of the Fujifilm X-M5 or the Panasonic Lumix S9. Regardless of whether vlogging cameras are primarily designed for video -when having an EVF isn’t so important – they surely have other applications. As you’ll read in our test of the X-M5, it really is…

GOOD THINGS IN SMALL PACKAGES

SIGMA DC DN LENSES FOR THE CANON RF-S MOUNT

SIGMA IS NOW offering six of its DC DN zoom and prime lenses for Canon’s ‘APS-C’ format RF mount mirrorless cameras – currently comprising the EOS R100, R50, R10 and the R7 models. The license agreement means that the Sigma lenses fully integrate with the AF systems, Exif data exchange, in-camera lens corrections and in-body image stabilisation in the R10 and the R7, and the first three facilities on the R100 and R50 (which don’t have IBIS). The autofocus drive control program is specifically tuned for each lens with high-speed data transmission so these lenses off fast autofocusing response and reliable subject tracking. They’re also fully compatible with in-camera aberration correction, including for peripheral illumination (vignetting), chromatic aberrations and distortion. By matching corrections to the optical characteristics of the lens,…

SIGMA DC DN LENSES FOR THE CANON RF-S MOUNT

IT’S FAIR TO say that the retro camera trend was kicked off by Nikon’s Zfc and then really gained serious momentum with the full frame Zf which has been a huge seller. Yes, Fujifilm has been championing traditional control dials on its X-T line for ever, but this hasn’t been with the intention of replicating any of the Fujica 35mm SLRs from the past. No, retro means reprising a classic design -such as the FM2 in the case of the Zf – and the new OM System OM-3 very much pays homage to the legendary OM-1. What’s the appeal? Well, if you’ve directly experienced the originals, then it’s the attraction of going back to something that was associated with great photos and fond memories, not to mention a degree of…

LEICA LAUNCHES ITS FASTEST SL MIRRORLESS CAMERA EVER

AS EXPECTED A faster version of the Leica SL3 has arrived, swapping the 60.3 megapixels sensor for a 24.6 megapixels BSI-CMOS imager and thus enabling continuous shooting at up to 30 fps with full AF/AE adjustment. This speed makes it the fastest SL series mirrorless camera to date, and it can be maintained with image quality settings up to 12-bit RAW (DNG). An 8.0 GB buffer memory allows for a burst length of 175 frames when shooting at 30 fps. RAWs with 14-bit capture can be captured at lower speeds. As with the SL3, the camera has dual memory card slots for CFexpress Type B devices and for SD with UHS-II speed support. The SL3-S is immediately distinguishable from the high-res model by its blacked-in ‘Leica’ nameplate, but retains a…

LEICA LAUNCHES ITS FASTEST SL MIRRORLESS CAMERA EVER

KAYELL APPOINTED AUSTRALIAN DISTRIBUTOR FOR BRONCOLOR FLASH GEAR

LEADING PROFESSIONAL PHOTO, video and graphic arts supplier Kayell Australia is the new Australian distributor of Broncolor lighting equipment and accessories. For various reasons Australian photographers recently have only had access to a select line-up of Broncolor products. With this new partnership, Kayell says it will now reintroduce the complete Broncolor portfolio, including the company’s latest innovations in lighting technology. Kayell also plans to provide repair services for Broncolor products through its service centre in Sydney. “We are thrilled to expand our offering with Broncolor products and services to the Australian market,” comments Robert Gatto, who is the managing director of Kayell Australia. “Broncolor has long been a trusted name in high-quality lighting, and we’re proud to bring the full range of their exceptional products back to local photographers. Whether…

OM SYSTEM UPDATES THREE OLYMPUS LENSES

ANNOUNCED ALONG WITH the OM-3 are updates to three lenses from the previous Olympus OM-D system which obviously get a change of branding, but also some design revisions. Obvious companions for the OM-3 because of their compact dimensions are two primes – the OM System M.Zuiko Digital 25mm f/1.8 II (equivalent to 50mm) and the 17mm f/1.8 II (equivalent to 34mm). Both have metal barrel constructions and are now weather-sealed to the IPX1 standard to protect against dust and moisture. The 17mm’s optical construction employs nine elements in six groups which includes four special types – two aspherical, one with a high refractive index (HR) and one ‘Dual Super Aspherical (DSA) which is particularly effective at correcting for both distortion and chromatic aberrations. This lens also uses the OM System’s…

OM SYSTEM UPDATES THREE OLYMPUS LENSES

PRO-B3 750 IS PROFOTO'S MORE ADVENTUROUS ON-LOCATION FLASH MONOBLOC

FEATURING A MORE rugged external construction to withstand the wear and tear of shooting in remote or difficult outdoor locations, the new Profoto Pro-B3 750 is a battery-powered flash Monobloc with a more powerful maximum flash output of 750 joules. Profoto is calling it “the ultimate on-location flash for adventurous photographers”. As with the previous B series models, the Pro-B3 has a rugged GRP casing with an integrated handle and an integrated reflector. However, this model also has a tough rubberised coating to provide better weather protection. Flash power can be adjusted over a range of 11 stops, giving a minimum output of just 0.8 joules and flashing durations can be as short as 1/75,000 for capturing high-speed action. There’s the choice of Eco, Boost and Freeze operating modes to…

PRO-B3 750 IS PROFOTO'S MORE ADVENTUROUS ON-LOCATION FLASH MONOBLOC

OM SYSTEM GOES FULL-ON RETRO WITH THE NEW OM-3

THE HERITAGE OF the 35mm OM series 35mm SLRs has informed much of the design thinking behind the Olympus DSLRs and mirrorless cameras over the last two decades or so, reprising in various ways the great Yoshihisa Maitani’s keep-it-small philosophy. But it’s the post-Olympus OM Digital Solutions that has perhaps got the closest to the ideal of a ‘digital OM’ with the new OM-3 which is the perhaps the most classically-styled mirrorless camera we’ve seen so far, even going without a handgrip to maintain dimensions very close to those of the original OM-1. Compared in silhouette, the new OM-3 is only very marginally wider and taller than the 35mm SLR which changed the world in 1972. Of course, there was a 35mm OM-3 (1983) as well and which was intended…

OM SYSTEM GOES FULL-ON RETRO WITH THE NEW OM-3

PHOTOGRAPHY EXHIBITIONS & EVENTS

Current to 2 March: Exhibition. Carol Jerrems: Portraits. A major exhibition of one of Australia’s most influential photographers during the 1970s, and featuring Jerrems’s intimate portraits of friends, lovers and artistic peers. At the National Portrait Gallery, King Edward Terrace, Parkes, Canberra, ACT 2600. Entry is $20 with concessions available, book online. Gallery hours are 10.00am to 5.00pm daily. For more information visit www.portrait.gov.au Current to 27 April: Exhibition. Ocean Photographer Of The Year. Featuring 118 extraordinary images, this exhibition celebrates the vision of talented photographers from around the world. At the Australian National Maritime Museum, 2 Murray Street, Darling Harbour, Sydney, NSW 2000. Entry fee is $35 for adults, with concessions for children under 15 (and an $89 group fee for families), book online. Museum hours are 10.00am to…

PHOTOGRAPHY EXHIBITIONS & EVENTS

Presented by ILFORD www.ilford.com Ph: (03) 9823 1555 for more information The Picture Photographed inside the Katla Ice Cave in Iceland, this image is the winner of the 8th International Wedding Photographer Of The Year competition and beat over 2000 other entries submitted by 450 photographers from a total of 63 countries. Started in 2017 and based in Adelaide, the IWPOTY competition is open to both amateurs and professionals, and dedicated to the promotion of the art of wedding photography and the celebration of diversity across the globe. The Photographer Born in Hungary, Bettina Vass is an award-winning elopement and wedding photographer now based in Reykjavik, Iceland. She specialises in photographing adventurous couples in the many challenging locations that can be found in ‘the land of fire and ice’. “Iceland…

IF LOOKS COULD THRILL

What do you first notice about the OM System OM-3? It takes a little while to take in that you’re looking at the clean and uncluttered lines that were once a staple of 35mm SLR design before ever-bulkier handgrips became a thing. Yup, the OM-3 doesn’t have one at all… not even a little bump like on the Nikon Zf. There’s a thumbgrip at the back, but from the front it’s all about the balanced, elegant proportions that made the original OM-1 – and its OM-2 semi-auto exposure sibling – such a hit back in the 1970s. Of course, there was also an OM-3 in the original dynasty (see the breakout panel), so OM Digital Solutions is going the full classical OM camera experience with this new model… although the…

IF LOOKS COULD THRILL

With its clearly photographic heritage, the OM-3 doesn’t look like an obvious choice as a video camera, but as with its photographic capabilities, it inherits the most of the video feature set from the OM-1 Mark II as well. Again, the practical limitations versus the latter aren’t significant and topped by the single card slot which obviously prohibits proxy recording or back-ups. Both 4K DCI and 4K UHD can be recorded internally at 50 or 60 fps, and Full HD shooting is available up to 200/240 fps for slow-motion clips (in the ‘S&Q’ mode). There’s the option of 10-bit 4:2:0 colour with the H.265 HEVC compression codec which delivers bit rates of up to 152 Mbps. With the standard MPEG-4 AVC H.264 codec and 8-bit 4:2:0 colour, the bit rates…

HERE'S ONE WE MADE EARLIER

The ‘single digit’ Olympus OM 35mm SLRs are film camera royalty and while the original OM-1 and the OM-2 tend to get all the accolades, the OM-4 (introduced in 1983) was arguably the most successful model, especially in terms of attracting professional users and appealing to enthusiast-level shooters when Canon and Nikon were starting to sweep all before them. For a while, the OM-4 was standard issue at National Geographic magazine, no doubt partially because of its compact size, but also the truly excellent system of Zuiko lenses. The Ti version’s titanium bodyshell – which arrived in 1986 – added extra durability to the mix, although all OM-4s were weather-sealed. However, for the purists there was the OM-3, also launched in 1983 and also available later on with a titanium…

HERE'S ONE WE MADE EARLIER

VITAL STATISTICS

Type: Enth usiast-level interchangeable lens digital mirrorless camera with Micro Four Thirds System bayonet lens mount. Focusing: Automatic ‘Cross Quad Pixel AF’ hybrid system using contrast-detection and phase-difference detection measurements via the imaging sensor with 1053 X-type focusing points for each. Sampling at 120 fps with 100 percent scene coverage vertically and horizontally. Focus points may be selected manually or automatically by the camera. Area modes are Single, Small (3×3), Medium (9×7), Large (15×11), Cross (9 points horizontally, 7 vertically), or Custom shape/size (up to four). ‘Intelligent Subject Detection AF’ tracking modes for humans, animals, birds, motorsport (cars and motorcycles), aircraft (including helicopters) and trains. Eye/face/head/body detection for humans and animals. Up to eight targets can be tracked simultaneously. ‘Starry Sky’ AF mode. Manual switching between one-shot and continuous AF…

VITAL STATISTICS

Andrew Mielzynski from Canada emerged from a pack of over 3600 entries from around the world, to be judged the winner of the 11th International Landscape Photographer Of The Year competition (this prize is based on a folio submission of at least four images). Second place was awarded to Ignacio Palacios from Australia while in third was Gheorghe Popa who is from Romania. The winner of the 11th International Landscape Photograph Of The Year – which is awarded for a single image – is Ryohei Irie from Japan. The second prize in this category was won by Justinus Sukotjo from Indonesia, and the third place-getter is Himadri Bhuyan from India. “I look for minimalism – simple uncluttered compositions and small intimate scenes,” explains Andrew Mielzynski. “I’m a very passionate and…

OK, let’s get the bad news out of the way right at the beginning. The X-M5 doesn’t have an eyelevel viewfinder because it’s primarily aimed at people who, apparently, don’t ever use one. Normally, this omission would mean it warrants only a cursory look in this magazine and not a full test, but… It’s a biggish “but” too. Y’see, the X-M5 is super compact – partially, of course, because there’s no EVF – but because it uses current-gen ‘X Processor 5’ engine, it has a feature set that’s on a par with a number of significantly pricier current X mount bodies. The processor is mated with Fujifilm’s fourth-generation, 26.1 megapixels ‘X-Trans CMOS 4’ which we know delivered a very creditable performance in the X-T4 and the X-T30 II (as well…

If you’re a video shooter doing more than just desktop work, the X-M5 still makes a lot of sense, and the lack of an EVF is much less of an issue. Plus you can certainly take advantage of its compact size and compatibility with a big system of interchangeable lens. It works well with a gimbal or in a rig with an external recorder. For its primary intended usage, the main mode dial has a ‘Vlog’ setting (as does the X-S20) which brings up a dedicated touch screen display and access to specific modes – namely Portrait Enhancer, Product Priority and Background Defocus – which are designed to make it easier to shoot more professional-looking videos without needing a lot of experience. There’s also a ‘Short Movie’ mode for shooting…

VITAL STATISTICS

Type: Compact digital mirrorless camera with Fujifilm X bayonet lens mount. Focusing: TTL automatic hybrid system using phasedifference detection and contrast-detection measurements. 425 measuring points (in 25×17 or 13×9 patterns). Single-point (six sizes), zone (7×7, 5×5 or 3×3 point clusters selected from 117 points), custom zone (three user-defined shapes) and wide/tracking modes. Five ‘AF-C Custom’ settings for optimising tracking plus a user-definable setting for Tracking Sensitivity, Speed Tracking Sensitivity and Zone Area Switching. Face/eye detection with left/right priority. Subject detection for animals, birds and insects, cars, motorcycles and bikes, aircraft and drones, and trains. Auto subject detection when the camera is in full auto mode. Focus range limiter. Face/eye detection with left/right priority. Manual switching between one-shot and continuous AF modes. AF+MF mode. Low-light assist via built-in illuminator. Manual focus…

VITAL STATISTICS

BACK TO BASICS ALL ABOUT EXPOSURE CONTROL

No matter how advanced or sophisticated camera automation becomes, if you don’t know what’s going on behind-the-scenes, you’re not in control and that means you aren’t always going to get the results you’re expecting. It’s the reason that even the very latest mirrorless cameras still have manual overrides for just about everything… sometimes you will need to take over. But first you need to know what you’re doing which means, firstly, knowing when to use these controls and, secondly, how to use them to make the camera do exactly what you want. So let’s start with the most basics of basics… exposure control. Controlling exposure is the essential ingredient of making photographs, but if you leave it entirely to the camera, you’ll be missing out on some vital creative possibilities.…

BACK TO BASICS ALL ABOUT EXPOSURE CONTROL

Auto exposure bracketing automatically captures a sequence of images, adjusting the exposure for each frame either up or down around the metered exposure setting. You set the amount of plus/minus exposure variation which, typically, can be up to three stops either way. Shown here is fiveframe sequence captured with a plus/ minus one stop adjustment – +2 stops overexposed, +1 stop overexposed, normal, -1 stop underexposed and -2 stops underexposed. In practice, you probably wouldn’t apply such a big variation between shots, as it’s the small differences that tend to make the all the difference.…

Reading The Exposure Histogram

It can be very difficult to gauge exposures in a digital camera’s monitor screen or electronic viewfinder, and a much more reliable guide is provided by the histogram display. There’s the option of a real-time histogram display in the live view screen, but arguably more useful is the display provided in image review after capture. You can read the histogram to see the amount of exposure from the shadows through the mid-tones to the highlights. The histogram is a graphical representation of image brightness levels from black (i.e. the darkest pixels) at the left through to white (the brightest pixels) on the right. This corresponds to brightness values of 0 (black) to 255 (white). This scale is derived from the binary code that represents the building blocks of a digital…

Reading The Exposure Histogram

GOING THE DISTANCE

Telephoto primes – and supertelephotos too – are staples of any lens system, but they seem to have been a bit low on the lists of priorities for mirrorless cameras. Telezooms have been a more popular route to longer focal lengths, especially with the cropped sensor systems probably because it’s easier to go even longer with a smaller and lighter lens. Until now, the longest prime in Fujifilm’s X mount line-up has been the very yummy but pricey Fujinon XF 200mm f/2.0 R LM OIS WR – effectively 305mm at the same superfast f/2.0 maximum aperture – but there’s the XF 150-600mm f/5.6-8.0 R LM OIS WR zoom which gives you 229-914mm… and, at around $3500, it’s not especially expensive either. However, telezooms have their plusses and minuses which is…

GOING THE DISTANCE

VITAL STATISTICS

Format: ‘APS-C’ digital sensors. Effective focal length is equivalent to 762mm. Angle-of-View: 3.3 degrees (diagonal on ‘APS-C’). Construction: 24 elements/14 groups. Seven special elements – five extra-low dispersion (ED) types and two ‘Super ED’ extra-low dispersion types. Minimum Focus: 275 centimetres. Maximum Reproduction Ratio: 1:5. Aperture Range: f/5.6 to f/22. Overall Length: 255 millimetres. Maximum Diameter: 105 millimetres. Filter Diameter: 95 millimetres. Weight: 1335 grams (without lens hood or tripod foot). Lens Mount: Fujifilm X. Features: Weather-sealed external construction including insulation for operation in subzero temperatures down to -10 degrees Celsius, fluorine coating on front element, optical image stabilisation (up to 5.5 stops of correction for camera shake), internal focusing, high-speed linear AF motor, ‘Focus Preset’ button, four ‘Focus Control’ buttons (for AF-on, focus hold or recall focus distance preset),…

VITAL STATISTICS

THE MIRACLE (AND SCIENCE) OF MIRROR LENSES

The technical definition of a telephoto lens is one with a focal length greater (or longer) than 50mm (on the 35mm/full frame forma), but the telephoto range is more generally accepted to begin at around 85mm which would be classified as a ‘short telephoto’ lens. Beyond 300mm you move into the ‘supertelephoto’ range which includes 400mm, 500mm and 600mm lenses. Anything longer than 600mm is generally for specialised applications such as wildlife or some sports. The focal length of a lens is actually the distance from its optical centre – also called the rear nodal point – to the focusing point in the camera which, obviously, coincides with the focal plane in the camera (also called the plane of sharp focus). Due to the longer focal length, telephoto lenses are…

THE MIRACLE (AND SCIENCE) OF MIRROR LENSES

During the 1960s considerable advances were made in micro-electronics – notably integrated circuits or ‘microchips’ – which would eventually have far-reaching effects on the design and manufacture of many consumer products. By the start of the 1970s, the race was on to incorporate these new technologies into cameras which, up until then, had been mechanical instruments. The Pentax ES was the first 35mm SLR with automatic exposure control (an aperture-priority mode) and it appeared in 1971. Over the next couple of years, it was followed by many competitors with the gradual adoption of more electronics including LED viewfinder displays (introduced on the Fujica ST901 in 1974). Canon’s first auto camera was the semi-pro EF introduced in 1974 which had a hybrid mechanical/electronic shutter. The most significant advance came in 1976…

It’s the middle of 2009 and the photography world is starting to get to grips with a whole new breed of camera. First Panasonic at the previous year’s Photokina and then Olympus repackaged the Four Thirds format sensor – now renamed Micro Four Thirds – into interchangeable lens cameras which did away with the traditional SLR mirror box and optical viewfinder. Panasonic opted for having an integrated electronic viewfinder in its Lumix G1 giving a design reminiscent of a very compact DSLR while the Olympus PEN E-P1 adopted a styling very similar to that of its Pen F half frame 35mm, but which didn’t have an eyelevel viewfinder at all. Both these cameras were significantly smaller and lighter than even the most compact DSLR which was achieved partially by using…

RICOH GXR + CAMERA UNITS

Type: Fully automatic mirrorless digital camera with 68-pin databus connector for fitting lens modules and accessory units. Lenses: A12/50mm module = 33mm f/2.5 macro (equivalent to 50mm). S10 = 5.1-15.3mm f/2.5-4.4 zoom (equivalent to 24-72mm). A16 = 15.7-55.5mm f/3.5-5.5 zoom (equivalent to 24-85mm). P10 = 4.9-52.5mm f/3.5-5.6 zoom (equivalent to 28-300mm). A12/28mm = 18.3mm f/2.5 wide-angle (equivalent to 28mm). A12 mount = Leica M bayonet lens mount. Focusing: Automatic using contrast-detection via imaging sensor and with multi-point, spot and ‘Snap’ modes. Manual focusing override provided. Low light/contrast assist provided by a built-in illuminator on the GXR body. Manual focusing on lenses mounted via the A12 M mount module. Metering: 256-segment multi-zone, centre-weighted average, spot and TTL flash. Exposure Modes: Program (with shift), aperture-priority auto, shutter-priority auto and manual. Six Scene…

RICOH GXR + CAMERA UNITS

WINNER Using a long lens for very tight framing enabled Showcase regular John Walker to create this intriguing abstract of trees silhouetted against a rising Moon. He’s titled the image Moon Tree, and it was shot with a Nikon P900 on a tripod and with the zoom at an effective 357mm. John comments, “I look for three things in my images – colour shape and subject matter – and the Moon never fails to come though”. Email to: camera@futurenet.com…

2024 SIGMA SHOWCASE SIXTH ROUND WINNERS

HIGHLY COMMENDED Who doesn’t love a visual pun so we give you No Permanent Barking. The sharp eye of Graeme O’Rourke spotted the amusing juxtaposition of pooch and signage, and was quick enough to snap it with his Canon EOS 7D Mark II which was fitted with the Canon EF 100-400mm f/4.5-5.6 L IS II USM telezoom. 2025 SIGMA SHOWCASE – OPEN FOR ENTRIES Sigma lenses is the sponsor for our Showcase competition, made possible through the generosity of the Australian distributor C.R. Kennedy & Company Pty Ltd. The grand prize for the 2025 Sigma Showcase is a Sigma lens to the value of $1000 and the winner can pick the model and the mount that they want. Additionally, the winner of each round receives a complimentary six-issue subscription to…

2024 SIGMA SHOWCASE SIXTH ROUND WINNERS

DIGITAL SLR CAMERAS BUYER'S CHECK LIST THIS CHECKLIST is designed to allow direct comparisons between different camera models, listed here in price order within each brand. The published prices are mostly supplied by the distributors as recommended retail prices (RRPs). However, some distributors no longer supply RRPs to the media, so it has become necessary to determine an ‘estimated street price’ derived from the range of prices for a model published by retailers. Where this has been necessary, the letter ‘E’ appears at the start of the entry. A dot appearing in a column indicates that the feature is available on the camera model listed. Where a specification or product detail hasn’t yet been published or confirmed, the letters TBA (to be announced) or TBC (to be confirmed) are used.…

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