So, not having any apparent consideration for us 9-5 types, Panasonic announced its new products this past Sunday. Now, don’t get me wrong, I’m something of a tech junkie, so while I was still clearing the sleep from my eyes I read about them in my feed reader. But, then, see, I slept again after that. So, I just remembered them again this morning, just in time for them to be old news, but better late than never, I suppose.
So, first up let’s tackle the G2. The G2 is clearly positioned as the replacement to Panasonic’s first m4/3 shooter, the G1. The nitty-gritty? Well, it’s mostly the same, same form factor (mini-DSLR-style with an electronic viewfinder of some repute), 12 megapixels, 3″ swivel LCD. New? Well, that swiveling LCD screen is now a 3″ swiveling LCD touchscreen. So, that pushes this to the first interchangeable lens device I’ve ever heard of with a touch interface (and for all you nay-sayers, there’re still buttons too), so it’ll be interesting to see what that adds to the experience.
Oh, and they added video, in the form of 720p MPEG. Not their fanciest showing for HD recording, but I reckon they don’t want to step on their GH1’s toes, especially since it’s so well-designed for video anyway.
Panasonic DMC-G10
Up second is the G10, which maybe we should call by it’s full name of DMC-G10 to help decrease confusion between it and Canon’s infamous PowerShot G10. The DMC-G10 is kinda like the G2, but without the swively touchy screen. It instead opts for the more pedestrian fixed LCD. It will also be available in red, black, and blue, making it the new go-to kid at the bottom of Panasonic’s m4/3 line-up.
Panasonic 14 - 42 mm f3.5-5.6 Lumix G Vario
What? Not enough news you say? OK, fine. How about an update to the standard kit lens? Will that do? Good, ’cause Panasonic also announced a new 14-42mm f3.5-5.6 lens with Mega OIS, which is pictured on both of the new bodies. Previously Panasonic had debuted a 14-45mm, and 14-42mm is a classic focal length for Olympus, who’s offering shares the same mount, so I will admit to a little confusion as to this lens ‘existence, but, when it comes to lens line-ups the more the merrier, I say.
Olympus, maker of tough, waterproof point-and-shoots and DSLR’s that I’ve been famously known to run under a sink and stand-on at parties, only to then photograph the onlookers, and co-pioneers of the mirror-less compact interchangeable lens camera frontier, sent us an email today telling us about their new YouTube video spots about their E-PL1.
These 11 short videos are aimed to help you all through the various highlights of the E-PL1, and to help explain what it offers over regular compacts (‘point and shoots”), or the full-blown DSLR boat anchors like I carry. So, if you’ve got a few minutes and an interest in one of the hottest new camera types in decades, why not hop over and watch a few?
The following improvements have been made in A and B firmware Ver. 1.01
Movie recording specifications have been modified as follows and an issue that, in some rare cases, caused movie playback to appear to have stopped has been resolved.
When exposure preview is enabled in live view tripod mode, information + histogram display is possible, but the histogram is no longer displayed while movies are recorded.
When the live view button is pressed with the Audio Video Cable EG-D2 connected, the image is displayed in both the television and camera monitor, but the camera monitor now turns off during movie recording. The camera monitor turns on again when the Audio Video Cable EG-D2 is disconnected from the camera.
Some simplified Chinese menus and help displays have been revised.
When some memory cards were inserted in the camera, “CHA” was displayed in the top control panel and images could not be captured. This issue has been resolved.
Woo hoo. As always, check your current firmware version prior to downloading and installing the update because if it ain’t broke…
So, before we get into the news that everyoneelseisgoingonabout from Sony, let’s start off with this mock-up pictured to the left here. I want to start with this because I think it’s getting a bit buried under that other stuff, but it’s an announcement I’ve been waiting to hear from Sony for a couple years: that’s the mock-up for their next intermediate DSLR, presumably to replace the now-defunct A700. And, you can see on the LCD shoulder there that it purports to do HD video, so, what’s not to love there?
OK, now we’ll talk about their interchangeable lens compact/EVIL concepts. Or, we would, except that’s really all there is to say. Sony joins the Panasonic-Olympus tag-team and Samsung in the fray for compact digital rangefinders. And, Sony’s mouthpiece at PMA mentioned an Exmor-R sensor being the highlight here. So, there you go, in case you missed it everywhere else, you now know to expect more and more competition in the so-called “Micro Four Thirds” arena.
EOS 1D Mark IV is available for download from Canon immediately.
What’s the update do you ask?
This firmware update (Version 1.0.6) incorporates the
following enhancement:
Firmware Version 1.0.6 enhances the AF tracking performance.*
*AF performance has been enhances[sic] for receding subjects and for subjects that are approaching at a low speed.
So, we got this in our mailbox dated for yesterday:
Santa Rosa, Calif. – Following up on the acclaimed Hydrophobia™ 300-600 rain cover for larger lenses, Think Tank Photo announces the release of two water-resistant, seam-sealed rain covers for 70-200 and smaller lenses: the Hydrophobia™ 70-200 and the Hydrophobia™ Flash 70-200 with built-in flash protector. Featuring side arm holes for focusing and accessing switches, they allow DSLRs to be turned vertically. And now, without exposing their expensive bodies and lenses to the elements, photographers can change memory cards and batteries without taking off the rain covers.
The key feature is that the camera strap attached to the camera does not have to be removed. There is a camera strap attached to the Hydrophobia 70-200 that, combined with a strap that buckles under the lens, allows the camera to be carried by the rain cover.
Hydrophobia 70-200 Flash
“The problem with other covers is that holes have to be cut into the top of the cover, and then using a special camera strap, the user has to unclip the camera strap from the camera, feeding it through the top of the cover,” said Doug Murdoch, Think Tank Photo’s CEO and lead designer. “With the Hydrophobia 70-200, we eliminated this problem by creating a system that automatically transfers the weight to the rain cover itself, while still keeping it water resistant.”
The fabric used on the Hydrophobia is ten times as water resistant as normal fabric. Instead of a “spray” coating, a “film” is applied to the underside of the fabric, as well as a
tricot mesh to protect it, making it a far more impenetrable three-layer fabric. In addition a waterproof tape is applied to all seams, providing an even more water resistant barrier.
The rain covers have the following key features:
A clear window for viewing LCD and controls
A fabric cover for the end of the lens.
An eyepiece storage pocket (eyepieces sold separately)
A detachable camera strap
A breathable mesh bag for transportation and storage
For professionals and amateur SLR shooters with smaller lenses who can’t afford to lose a shot or to have their gear damaged, the Hydrophobia™ 70-200 and the Hydrophobia™ Flash 70-200 are powerful new tools for getting the shot in even the harshest conditions.
The 70-200 will debut with a recommended price of $139.00, the 70-200 Flash with a price of $145. Roberts reminds you that to use any Hydrophobia properly you’ll need a special eyepiece also from ThinkTank for your camera.
So, if you own both a computer and a camera, there’s a better than average chance you’ve encountered one of the many online gear forums, where people discuss camera equipment. And, while a lot of useful information can be learned from these forums, they also rival the Mos Eisley cantina for biggest dens of inequity going, and I’ve lurked on them long enough to notice there are several popular fallacies that seem to never go out of style, which is sad because they frequently stand in the way of better customer satisfaction.
So, we’re going to start addressing a few of these as a respected dealer of equipment, with all our insider knowledge and decades and decades of experience with camera equipment over the ages.
And first up is AF-S. AF-S is Nikon’s designation for lenses with an integral ultrasonic motor for focusing, introduced in 1996. Now, if you’re new to equipment, you may not know that auto-focus cameras used to use a body-based focus motor and screw drive system. Nikon’s AF-S comes under fire because starting with the D40, they started leaving a body-based motor out of their cameras, forcing users to buy AF-S lenses if they wanted autofocus. This gets decried a lot as a shameless attempt on Nikon’s part to force new lens sales and cut-off the used market. AF-S gets a lot of hate.
Of course, never mind that Canon switched entirely to in-lens focus motors when it created its EOS system and EF mount in 1987, making it’s entire FD line-up completely unusable with new cameras. Or that Olympus and Sony’s DSLR systems also use only in-lens AF systems. Or that in lens AF systems are faster, quieter, and more accurate. Obviously such technological improvements must be bad, right?
Simple answer: if you’re a new DSLR customer and can afford it, go AF-S. Even though the more expensive bodies still support the body-motor, in-lens focus motors have been the future for the past twenty years. They might cost you more than the old used ones, but they’ll continue to work going forward on all Nikon bodies. Plus, don’t forget that focus motors aren’t all that’s improved in the past twenty years: lens coatings, exotic lens elements like aspherical elements, and even basic lens formulas have all continued improving and the newer AF-S lenses will yield more than just a focus motor for your money.
Charlie Sorrel has posted his thoughts about Panasonic’s GF1 Micro Four Thirds shooter. For those just joining (halloa!), the GF1 belongs to the Micro Four Thirds system, which is like a DSLR in that it uses a large sensor (the same as Olympus and Panasonic’s Four Thirds DSLRs) and interchangable lenses, but it doesn’t use an optical viewfinder, so it has no mirror, which means you’re stuck with LCDs for display but the camera is tinier and quieter.
Basically, they’re being called the digital equivalent of rangefinders.
The GF1 is exciting because like the E-P1 from Olympus (and unlike its own siblings, the G1 and GH1), the GF1 fully realizes the compact, retro styling MFT promises. Unlike the E-P1 and E-P2, the GF1 isn’t aimed at casual users and family snapshooters, but at the enthusiast and even pro markets (there’re first-, second-, and third-party adapters to mount basically every lens ever from Rokkor to Leica M to Canon FD and Nikon F to this thing).
And that leads us to this statement from Mr. Sorrel, who’s typical distaste for Olympus’ small sensors and general love of Nikon’s admirable low-light efforts are frequently noted:
But although the GF1’s LCD panel has only 460,000 pixels (many newer DSLRs have almost a million), the 60fps refresh rate makes a huge difference. You actually feel like you’re using the focusing screen on an old medium format TLR. Weirdly, I actually find it easier to frame shots than with my Nikon D700’s fantastic viewfinder.
Well, guess that answers how easily you can get by without an OVF, yeah?
I bought the special edition 2-disc edition of Robert Rodriguez’ cinematic adaption of Frank Miller’s Sin City when it was released in 2005. Among my favorite features (before even watching it all in Green Screen or Bruce Willis and the Accelerators performing “Gypsy Woman”) is Robert Rodriguez’ 10-minute cooking school, a brilliant tutorial in making Sin City Breakfast Burritos complete with his grandmother’s tortilla recipe. Rodriguez does another cooking school on the Once Upon a Time In Mexico DVD, where he shows you how to make the puerco Johnny Depp enjoys with homicidal intensity.
Now Tamron will broadcast 1-minute tips, tricks, and tutorials each week starting on the 18th of January and running for 12 weeks not on a special edition dvd, but on YouTube.
“In just one minute per week you can learn the basics of successful photography at no cost,” ~John VanSteenberg, Tamron’s Senior Education Manager.
Tamron has indicated the “101″ series will be followed by more advanced courses as the project continues. You can find them at http://www.youtube.com/user/TamronVids
or embedded here:
Anybody who knows me knows that I’m not a professional sports photographer and that putting a 1D Mark IV in my hands would be about as useful as putting me behind the wheel of any car that’s won a NASCAR race in the last decade. Can I figure things on the exposure triangle? Sure. Much past that, things get iffy.
Fortunately, Canon puts samples in the hands of guys like Brad Mangin, who is a professional sports photographer. You can see his first hand use of the EOS 1D Mark IV with the 400 f/2.8 (on and off the 1.4x tele-converter) in the Detroit Lions vs San Francisco 49ers game here, complete with a RAW file downloadable from his server.
From Nikon’s Firmware update page:
EOS 1D Mark IV is available for download from Canon immediately.
