Canon Japan uploaded only two sample images of recently announced Canon SX60 HS camera , we will update this post soon as we get more sample images.
Shooting mode – Program AE, Shutter speed – 1/100, ISO sensitivity – Hundred, Exposure compensation – 0, White balance -Auto, Built-in flash – Off
Continue reading Canon SX60 HS Sample Images
Sony has manufactured yet another 4K video camera. In and ever crowed and competitively priced market, Sony has finally made a sub $10,000 interchangeable lens, ASP-C 4Kinternally recordable camera. However, it seems like Sony may be late to the dance. There are some great features on this camera, which we will look at later in this article. However,what Sony does not get at times is the more forward thinking manufactures who are new tothe dance and are delivering democratization of cinema in droves, where Sony is still stuck, in some ways, in a twentieth-century, their hand in your proprietary-pocket paradigm. If we compare this camera and its proprietary nature to the competition, this camera fails to deliver in some areas, but excitingly delivers in others.
Sony’s first affordable 4K option was the FS700. A very good and viable option for a my riadof video applications, the FS700, however, did not shoot 4K video internally. It came with a price tag of $7,699, which was for HD only. In order to shoot 4K video, one need to spendan additional $5,350 dollars to purchase Sony’s proprietary recorder called the AXS-R5.The total set back for acquiring 4K video less lens was $13,049. In addition to that, a firmware update was needed (at a cost) and a Sony proprietary v-lock battery to run the recording unit.
There are four well-known manufacturers, which made external recorders: AJA, Atomos,Blackmagic and Convergent Design. Two of which have taken their expertise with videodata recording and parlayed that expertise and technology into sub $10,000, professional4K video cameras. The first of which is the AJA Cion. The Cion retails for $8995 and is completely vacant of proprietary connectors. This camera is light (about 6lb) and balances nicely on your shoulder. It also comes with a PL mount for professional glass applications.Two XLR inputs for audio as well as either V-mount or Anton Bower mount depending onyour battery needs. It also shoots 4K video internally to removable solid-state drives.
The Blackmagic URSA (A Detailed Look – Blackmagic URSA and CFast Cards) , on the other hand retails for a little less. The Blackmagic URSAretails for between $5,995-$6495, depending on which lens mount option you choose. ThePL mount option is $500 more than the Canon mount, which gives one a nice variety of Cinema lensesa nd DSLR to use. The URSA, like the Cion, records 4K internally, thetrade off being less money for the URSA, more money for the recording media. Instead ofusing solid-state drives, the URSA uses CFast media, which is of compact flash linage. Theadvantage being, with CF media, you can record CinemaDNG RAW, a lossy compressed format with a 4:4:4 color space. The Solid state drives for the Cion can record a 4:4:4 colorspace in ProRes. The Blackmagic URSA also comes with a full HD 1920×1080 10.1-inchmonitor, which folds in flush the camera body when stowed. The Cion needs either anexternal monitor or electronic viewfinder solution—an accessory not included with thecamera.
Let us look at the Sony FS7. There are many features on the FS7 that are well thought outand value based for the consumer. The first of which is the electronic viewfinder. Similar tothe viewfinder solution first seen on Sony HD video cameras like the PMW-EX3, the view finder solution on the FS7 uses a small OLED monitor with a diopter and eyepiece for magnification. This is a very nice option, where in some other cameras in this class, most likely a third party solution is needed via an Alphatron, Zacuto or Cineroid EVF. Another feature of note on the FS7 is the stow able smart handgrip. This handgrip, reminiscent of theAaton LTR 54 and the XTR Prod, makes it easier to not only balance the camera, but also have start stop record, assignable buttons and zoom control. On the audio side, Sony has placed two XLR inputs neatly on the right hand side of the camera, facing toward the rear ofthe camera, thus is reminiscent of the Arri Amira. TheFS7 unlike its predecessor, the FS 700will shoot 4K internally via Sony legacy CODECS, however, if you want to shoot RAW or toan external recorder, Sony’s proprietary monster rears its ugly head.
A further investigation into Sony’s new 4K camera, the FS7, the lowdown. The first item ofnote is that the FS7, comes with a proprietary lens mount. Fitted with an E-mount, the FS7will only take Sony and a few Zeiss DSLR lenses, none of which have manual iris and hardstop focus control. However, that may change. As a kit option, or individually, Sony has anew lens, which has manual focus and aperture as well as a full auto feature. Called the FE-PZ, this lens has a generous 15x zoom range from 28-135mm, with a consistent maximum aperture throughout. Kit price was not available, however, this lens is available for individual purchase. Pricing according to B&H and Adorama is $2,499, a relative bargain for a manualfull-frame lens with zoom control. Because this lens is also a full-frame design, it is also aviable option for Sony’s A7S Full-frame DSLR, which also can shoot 4K, via HDMI output toan external recorder. The drawback to this lens would be the moderate f-stop (f4) and lackof bokeh found with faster lenses.
Sony adds more proprietary devices. In addition to the above-mentioned items of glass,mounts, audio placement and multi-function handle, you need more accessories to shootcomfortably and professionally. The first item of note would be the fact that the FS7 doesnot rest comfortably and or ergonomically on one’s shoulder. The size of the camera with lens is something in between an ENG camera and a camcorder. To accessorize this kit, youneed to purchase a shoulder pad and rail solution. This is especially evident when you add Sony’s interface box, which allows you to export RAW video. The interface also has a battery solution, however, this is proprietary as well, taking a Sony v-lock. There are noother battery options like the ones available on the Blackmagic URSA and AJA Cion.Additionally, if you want to output RAW or ProRes files, youwould need to purchase the interfacebox accessory from Sony for around $2,000. This would allow you to connect Sony’s own AXS–R5 orany of the other external recorders from AJA, Atomos, or Convergent Design. The FS7 records internally to Sony’s XQD recording media, which has transfer rates (read/write) upto 180MB/s. These cards are reasonably priced with a 64gb card retailing for $298.95.
In a confluence of two former divergent paths, Sony’s FS7 has made up a great deal ofground. Although not a perfect camera, it does make substantial inroads towards the Democratization of Cinema. For $8,000 you get a 4K camera, which can record 4Kinternally, a first for Sony at this price point. However, the camera is not without its flaws.Other manufacturers such as AJA and Blackmagic have very completive offerings—givingyou more professional features such as internal recording of 4:4:4 color space. Moreover,the lensing options for theses new comers covers a wider range of glass. Sony with its blinders on has focused its competitive gaze not on the new comers, but more on Canonand their C500, which retails for $19,999. With the FS7’s ability to record higher bit rates with and more professionalCODEC options, Canon may be the real laggard in this race. Completion is good. It causeslegacy companies to rethink their business model and manufacturing paradigm and itcreates innovation from new companies willing to think beyond the status quo. As RED had done a decade ago, giving us the first 4K production camera, one of the legacy giants,Sony, has now awoken with a substantial new offering their own, the FS7.
About the Author: Thomas Cznarty is a lecturer at the State University of New York at New Paltz. Currently, he teaches in the Communication and Media department. He writes poetry, short fiction and screenplays. Thomas Cznarty is also a filmmaker and media producer with a strong background in film and television production.
Canon G7 X first High ISO test images are now available, take a look at the images below and share your thoughts with us…
As we can see from the test images above the Canon G7 X images are usable upto ISO 1600, from ISO 3200 significant amount of noise is visible.
Buy Canon G7X from Amazon
Buy Canon G7 X from B&H Store
Canon G7X review & Sample images via mattgranger.com
image credit – whatdigitalcamera.com
Lot of Canon G7 X sample images surfaced over the web, we have added few galley links below…take a look
#1 whatdigitalcamera.com Many sample images with High ISO test
#2 engadget.com have some few but nice images
#3 imaging-resource.com has only three, so take a look
Take a look at the sample image s of the recently announced Canon 7D Mark II camera , the camera features newly developed APS -C C-MOS sensor and Dual DIGIC 6 image processor .. all these things make camera a very strong contender among the APS-C DSLRs..
ISO 400, 1/4000sec, f/4, with EF 70-200mm f/2.8L IS II USM
ISO 400, 1/200sec, f/4, with EF 300mm f/2.8L IS II USM,
ISO 320, 1/2000sec, f/4, with EF 600mm F4L IS II USM, Full Size
ISO 200, 1/400sec, f/4, with EF 300mm f/2.8L IS II USM
ISO 100, 1/320sec, f/8, with EF 16-35mm f/4L IS USM
ISO 6400, 1sec, f/8, with EF-S 10-18mm f/4.5-5.6 IS STM
Thanks to Hasselblad for updating us, new Hasselblad H5D-50c CMOS Camera now come with built-in WiFi connectivity, now you can fully control your Medium format DSLR iPhone/iPad on location via Phocus Mobile software, more details available at the press release
Hasselblad is set to showcase prototypes of its brand new H5D-50c Wi-Fi medium format camera at photokina (Hall 02.1: Stands A021 – B020)
The new model – a feature-rich upgrade to the H5D-50c CMOS unit launched earlier this year – provides photographers with more freedom than ever before, thanks to an innovative Wi-Fi module.
The H5D-50c with Wi-Fi makes it possible for users to fully control the camera and browse/view images on iPhone/iPad on location via Phocus Mobile software, without the need for a computer. It also features a ‘Live View’ function, allowing photographers to see and zoom in on a live image on the rear LCD even when the camera is untethered.
The new model will be available first in Europe at the end of November and will retail at €21,400 excl. tax.
Michele Channer, Hasselblad International Sales Director said: “When we launched the new H5D-50c CMOS camera earlier this year we promised photographers ultimate image quality, regardless of lighting conditions. Now we have developed a unique Wi-Fi upgrade for this camera enabling photographers to work unplugged but still very much connected.”
She added: “Now users can enjoy total freedom – direct camera control and image browsing, without a computer in sight. Our innovative ‘Live View’ functionality is another first for us. Previously photographers could not directly see at the back what they could see through the lens.
And of course this new model boasts all the functionality of its sibling, including a 50Mpixel CMOS sensor and excellent high ISO performance at up to ISO 6400.”
New features on the H5D-50c with Wi-Fi include:
- Wi-Fi: Control the camera and browse/ view images on iPhone or iPad, even on location.
- Live View: See a live image on the rear LCD even when the camera is untethered.
- Capture rate: The capture rate now enables 50 captures per minute.
- Longest exposure time: The longest shutter speed is now 34 minutes. And no extra black exposure is necessary.
- Film: Now you can use film magazines on the H5D-50c.
- Spirit level: Employ the built-in electronic spirit level even in tethered mode.
- Display modes: Select different display modes even when the camera is tethered.
- ISO and White Balance: Settings now available on viewfinder display.
Between January and March 2015 Hasselblad is offering photographers the opportunity to upgrade their H5D-50c model for the new Wi-Fi version for €500.
All new features (except Wi-Fi) will be available to H5D-50c and CFV-50c owners as a firmware upgrade shortly after the photokina trade show event.
The information we have published about the successor of Leica S2 was 100% true see here Leica S2 Successor Leica S Coming , Finally today Leica announced two variants of the new medium format camera one is Leica S that packed with newly developed Sony Medium format sensor and supports 4K video capture @ 60fps and the other camera is Leica S-E that boats a traditional CCD sensor inside it, have couple of new features compared to its predecessor and cost less than the Leica S camera.
Leica S ( Type 007)
The recently announced Leica S camera features a 37 megapixel medium format CMOS sensor and Maestro II Image Processor, take a look at the major features below of Leica S camera
- 37.5MP 30 x 45mm CMOS Sensor
- Maestro II Image Processor
- No Optical Low-Pass Filter
- 3.0″ 921.6k-Dot LCD Monitor
- Pentaprism 0.87x-Mag. Optical Viewfinder
- 4K Video at 60 fps, 4:2:2 Color
- Up to 3.5 fps Shooting, ISO 6400
- DNG File Format, 16-Bit Color Depth
- Built-In Wi-Fi and GPS Connectivity
- Weather-Sealed Magnesium Alloy Body
The Leica S is available for pre-order at B&H storeand shipping date is not know yet.
Leica S-E (Type 006)
The Leica S-E features a traditional contrast based sensor, the features are bit less so you have to pay approx $8500 less than the Leica S medium format camera, take a look at the major features below
Leica S-E Medium format camera Major features
- 37.5MP 30 x 45mm CCD Sensor
- Maestro I Image Processor
- No Optical Low-Pass Filter
- 3.0″ 921.6k-Dot LCD Monitor
- Pentaprism 0.86x-Mag. Optical Viewfinder
- Up to 1.5 fps Shooting, ISO 1600
- 12-Stop Dynamic Range
- DNG File Format, 16-Bit Color Depth
- Weather-Sealed Magnesium Alloy Body
- Anthracite Cover, Silver Anodized Dial
The leica S-E will cost you apprx $16900 and available for pre-order at B&H store, the shipping date is not known yet.