A pro camera system to supercede most others? The new Red still and video camera system.

Written by Gary on November 16th, 2008

We have been anticipating increasing convergence of the still photography and video worlds, and up til now, the still cameras have had rather rudimentary video modes, while the video cameras have a still image capture that is not quite there when compared to dSLRs.

But this may soon change for those with the money and don’t mind carrying around rather large and modular camera systems.

RED Scarlet

Red has announced the forth-coming Scarlet and Epic modular camera systems, and here are just a few features that these cameras are purported to be able to achieve:

  • 1 to 120 fps image capture – ie. single photos or high speed video for slo-motion effects
    • all cameras will be able to do 1-25fps but some bodies can go up to 50fps whilst others can go to 120fps – at a price
  • large sensor sizes for improved image quality and shallow depth of field not possible with most current video cameras
    • smallest sensor is a 120fps 4.9 megapixel 12bit 2/3″ (I think this is the size of the old Olympus C8080 digital camera)
    • a panoramic cropped 13.8 megapixel 12bit “S35” 35mm sensor having 30x15mm (1.2x crop horizontally and 1.6x crop vertically) available as 30fps or 100fps models
    • a full frame 24megapixel 16bit 35mm sensor with 6 micron photosites available as 30fps or 100fps models
    • a full frame 50fps 65megapixel 16bit 6×4.5 medium format sensor with 6 micron photosites
      • this resolution is similar to current medium format dSLRs such as Hasselblad, but these usually only allow 1 photo per second
    • an incredible super panoramic 25fps 261megapixel 16bit 6×17 medium format sensor with 6 micron photosites
  • ability to use a variety of lenses via interchangeable mounts
    • 2/3rd sensor bodies can either have a fixed RED lens or a Mini-RED mount, B4 mount, or C-mount
    • S35 and FF35 sensor bodies can have mounts for either RED, PL, Canon or Nikon lenses
    • 645 sensor bodies can have mounts for either RED, medium format, or Mamiya lenses
    • 617 sensor body can have mounts for either RED 617, Linhof, Alpa lenses
  • fully modular system to minimise risk of obsolescence
  • shoot video in digital RAW image files for optimal post-processing
  • 3D video capability by mounting two bodies side by side

Red 3D

Thus for example, potentially, a single Epic FF35 camera body with associated modules and lenses in theory should be able to do most of what a Canon or Nikon full frame dSLR can do (even the Canon 1DsMIII, 1DMIII, Canon 5D MII or Nikon D3) PLUS do it at up to 100fps at 24 megapixels per frame in RAW mode if need be, and still use the Canon or Nikon lenses.

Of course there will be many questions to be asked in its features such as AF capability for action shots, and it will have a live LCD, EVF or video out instead of an optical viewfinder as with dSLRs, and it will be bigger and heavier and a touch more expensive.

What I think is exciting about this though is that perhaps many of these features could be incorporated in the forthcoming Four Thirds Micro camera bodies which would allow a lower end, more compact system to be available to the less well heeled amateurs.

This degree of video capability would not be possible with current optical viewfinder technology in dSLRs but as the Micro Four Thirds system does not use these mirrors, it should be ideally placed to create similar video features whilst retaining continuous AF and creating even more compact lenses especially designed for contrast-detect AF systems.

Of course video is possible with optical dLRS (eg. Nikon D90) by disabling the optical viewfinder by placing the mirror up, and then using the live preview LCD – but current dSLRs would have difficult with continuous AF, although this is not insurmountable.

I am guessing the videographers and photojournalists might be drooling over the prospects of these new technology advances.

 

Superman fails! Opportunistic photojournalism with OM 200mm lens

Written by Gary on November 14th, 2008

I was on a brief holiday sojourn to Lorne, one of our beautiful coastal resort towns in Victoria, Australia when a car burst into flames in the main shopping strip just as I arrived.

I quickly parked the car at a safe distance and grabbed my Olympus E510 and Olympus OM 200mm f/4 manual focus lens to give a nice 400mm effective focal length so I could keep my distance and still get close shots.

None of these shots have been cropped or PS – just resized for the web. Click on the photos to see a 1000 pixel wide version.

In this shot it appears like the guy in the white shirt is asking superman why isn’t he putting the fire out – I will let you work out a version of the story line.

where u going superman

and moving in a bit closer….

car

oh.. and in case you are wondering, the guy is wearing a surf wet suit – the surf beach is only about 100m from the shops.

and the Country Fire Authority (CFA) arrive and the Captain watches his female junior carefully as she does a great job in putting it out.

fire girl.

More photos of this event can be found here.

More photos of use of the OM 200mm lens on an E510 can be found here.

For those who can’t afford the wonderful but big, relatively expensive Olympus ZD 50-200mm SWD lens, and can manage with manual focus, the Olympus OM 200mm f/4 lens works very well and is quite compact and light. Of course, with the Olympus E510/520/E30/E3, image stabilisation is provided. Although I do not have one, it would be worth getting an adapter with a AF-confirm chip on it to assist with manual focus.

 

More news on the new Olympus dSLR – the E-30

Written by Gary on November 5th, 2008

This site has posted an article which suggests the new “tweenie” Olympus dSLR for early 2009 will be targeting creative advanced photographers:

The Olympus E-30:

  • 12.3mp sensor
  • 11 point AF system, 5fps, IS as with the E3 as expected
  • new swivel LCD – presumably similar to the E3
  • 98% viewfinder coverage with 1.02x magnification
  • face detection AF in contrast-detect live preview mode
  • art filters – live effects in live preview mode
  • new multi-exposure mode

In addition it suggests there will be an update to the ZD 15-54mm f/2.8-3.5 lens with improved contrast and better performance – apparently it will be compatible with Micro Four Thirds contrast-detect AF but seems it is not SWD.

More details fourthirdsphoto.com.
and asia.olympus-imaging.com.

 

New studio flash technology – Cyber Commander

Written by Gary on November 2nd, 2008

Paul C. Buff, the creator of Alien Bees studio flash lights has announced a new product which may set the cat amongst the pigeons…

see Cyber Commander

Not only does it allow remote wireless triggering of up to 16 flash units, and measure their light output via its built-in flash meter, but if you happen to have studio flash units with the Buff remote cable feature, this remote can also dial up the flash output of each of the flash units from the camera!

Furthermore it offers 400′ distance capability and a delay of only 1/4000th sec to be compatible with faster flash sync speeds.

While it doesn’t offer remote TTL flash as with using Olympus FL50R or the other camera manufacturer remote TTL flash systems, it will certainly give Pocket Wizards a run for their money.

 

Canon 50D review shows 15mp is not as good as 10mp

Written by Gary on October 31st, 2008

As I theorised in my earlier blog – Has Canon lost the plot?, it seems everything I proposed is true…

See dpreview.com’s 50D review – an extract of the summary is quoted here:

“Having said that, in terms of per-pixel sharpness the 50D cannot quite keep up with the better 10 or 12 megapixel APS-C DSLRs in the market. At higher sensitivities the smaller photosites are clearly producing more noise (as shown from our RAW comparisons) and so Canon is having to apply more noise reduction to keep to acceptable noise levels, this of course means a loss of detail from ISO 1600 upwards.

It appears that Canon has reached the limit of what is sensible, in terms of megapixels on an APS-C sensor. At a pixel density of 4.5 MP/cm² (40D: 3.1 MP/cm², 1Ds MkIII: 2.4 MP/cm²) the lens becomes the limiting factor. Even the sharpest primes at optimal apertures cannot (at least away from the center of the frame) satisfy the 15.1 megapixel sensors hunger for resolution. Considering the disadvantages that come with higher pixel densities such as diffraction issues, increased sensitivity towards camera shake, reduced dynamic range, reduced high ISO performance and the need to store, move and process larger amounts of data, one could be forgiven for coming to the conclusion that at this point the megapixel race should probably stop. One consequence of this is that the 50% increase in pixel count over the 40D results in only a marginal amount of extra detail.

We’re by no means saying the 50Ds image quality is bad but it’s simply not significantly better than the ten megapixel 40D. In some areas such as dynamic range and high ISO performance it’s actually worse and that simply makes you wonder if the EOS 50D could have been an (even) better camera if its sensor had a slightly more moderate resolution”

 

Olympus lens firmware – Micro Four Thirds compatibility

Written by Gary on October 29th, 2008

Olympus has announced firmware updates to several ZD lenses to enable compatibility with the Panasonic DMC-G1 Micro Four Thirds camera.

see firmware upgrades.

The lenses include:
ZD 35mm F3.5 Macro
ZD 25mm F2.8 pancake
ZD 35-100mm F4.0-5.6
ZD 40-150mm F4.0-5.6

 

Small sensors may yet rule the day!

Written by Gary on October 25th, 2008

There is a short term trend towards the full frame dSLRs as they come down in price, but an interesting comparison of prints from a Canon G10 point and shoot and a $40,000 39megapixel medium format Hasselblad seems to show little difference in prints up to 13″x19″ prints of landscape scenes!

See here.

Now of course, the larger sensor has more narrow depth of field and will perform much better on larger prints, and presumably better at ISO > 200, and on skin tones.

You can get this quality out of a $500 camera which has a sensor a fifth the size of the Olympus / Panasonic Four Thirds and Micro Four Thirds.

In my experience, a 10mp high quality image at ISO 100 from an Olympus E510 is not that much different (again ignoring DOF) to my almost full frame 10mp Canon 1DMIII when printed to 20″x30″.

I suspect that if the Canon G10 were 10mp instead of 15mp, you would get just as good prints, and have the added benefit of less noise at higher ISO – but I guess we will never find out the answer to that one!

As sensor technology improves, the better edge-to-edge optical quality that is possible with Four Thirds lenses may mean that prints up to 20″x30″ may always be as good, if not better than full frame dSLRs when used at an ISO 2 stops lower than the full frame given similar sensor technologies.

Now, at present, Four Thirds sensors give best results at ISO < 400, but as technology improves, this will inevitably rise to the point that, apart from DOF considerations, there may not be many photographic situations where a full frame will outperform a Four Thirds camera. Sure the full frame may be doing acceptably noiseless images at some stage in technology advances at ISO 25,000 while the Four Thirds will be at 6400, but in reality, the far majority of images will still only need ISO < 400, which will mean the advantages of the full frame may be reserved for:

  • when you need really shallow DOF or tilt-shift
  • when you need really high ISO
  • when you need really large prints much larger than 20″x30″
  • when you want to carry around a big, heavy, expensive looking camera and lens system

Just some food for thought 🙂

 

Olympus ZD 50mm macro – flowers with Olympus Ring Flash

Written by Gary on October 16th, 2008

What else to do on a lovely sunny Spring morning with not much wind (wind is BAD for macro shots!), than to take a wander and see what you can find….

orchid

and, attaching the Olympus EC-20 2x teleconverter allows 1:1 macro, such as these Mt Fuji cherry tree blossom with tiny Argentinian ant which have now created one of the biggest ant super-colonies in the world, here in Melbourne.

cherry blossom

Click on the images for larger views.

 

New firmware update mechanism for Olympus/Panasonic/Sigma

Written by Gary on October 15th, 2008

Four Thirds system users who have multiple manufacturer systems such as a Panasonic/Leica Four Thirds lens on an Olympus dSLR will now be able to update the firmware on their lens even though it is not the same brand as the camera.

This is an important development, particularly, as we can expect some lens firmware upgrades to improve compatibility with the Micro Four Thirds cameras.

Olympus camera and lens owners click here

Panasonic dSLR and lens owners click here

Sigma lens owners click here

 

User interfaces – custom WB – Canon/Nikon/Olympus

Written by Gary on October 14th, 2008

Another critically important functionality is being able to set a custom white balance (WB) easily.

This will save you a lot of headaches, particularly shooting in jpeg only mode or even in RAW mode when shooting color-sensitive subjects such as portraits when there are no neutral tones to do a WB correction in RAW development.

Most cameras still have trouble with tricky light sources, especially artificial lighting, so your results will be much better in these situations if you take control of the white balance – and the easiest way is often via a custom white balance.

All procedures below assume you are taking a custom WB by taking a photo of a neutral gray card illuminated by the lighting that will be on your subject.

First the Olympus E510 using “one-touch WB”:

  • I always have my E510 set so one-touch WB (rectangle and two triangles icon) is allocated to the Fn button – see menu item wrench 1, Fn button – this makes custom WB even easier – becoming just one step:
  • hold the Fn button down and the LCD will tell you to aim the camera at your sheet and while holding the Fn button down, press the shutter button
  • if the shot was successful it then displays the image and asks if you want to accept this WB, just hit OK button to accept it
  • the E510 is now in one-touch WB mode using your preset WB you have just created until you either replace it by repeating this or changing WB mode via the WB button on the rear of the camera
  • unlike the other cameras here, the E510 does not allow storage of multiple custom WB settings, but I tend not to rely on old stored preset settings anyway on my Canon 1DMIII so I don’t miss this feature
  • also, the E510 does not allow you to extract WB data from a previously taken photo and assign it to a preset WB – however, this is not a feature that I have missed

The Canon 1DMIII method:

  • like many processes on a pro camera like this, it is NOT intuitive like the E510 and you need to read the manual as the on-screen instructions don’t help, but here is how you do it:
  • set WB mode to preset by pressing FUNC button and using rear dial to choose preset mode and then use the top dial to choose which preset number (1-5) to use or override
  • now the non-intuitive part, hold the FUNC button down and press the button to its right (the lock/microphone button) and the preset number will start flashing inside a bracket, while this is flashing, press the shutter button to take the shot and the WB setting is stored to that preset number. Half press the shutter to go back to shooting mode.
  • OK, its fairly fast and gives you options of 5 settings quite easily, but if you have forgotten how to do it and you don’t have the manual, good luck working it out!

Now the Nikon D90:

  • go into custom WB mode (Nikon’s “preset WB”) by pressing WB button and rotating rear main command dial to choose PRE which will be displayed on the top control panel
  • release the WB button and now the non-intuitive part – press it again until the PRE icon starts to flash, you then have 6 seconds to take a photo by pressing the shutter button to set the WB.
  • if the photo was acceptable, the control panel will flash “GOOD” for 6 secs and the setting will be stored in preset d-0 setting (there are 4 other presets d-1 to d-4 which you can later copy the d-0 setting to for future use).
  • to use this d-0 setting, you press the WB button and rotate the sub-command dial until d-0 is dsplayed in the control panel
  • unfortunately, unlike Olympus, Nikon did not see fit to create a one-touch WB mode which can be allocated to the multipurpose FUNC. button

Well I don’t know about you, but I have got to say, the Olympus method is brilliantly simple as long as you have allocated one-touch WB to the Fn button and remember that you just need to press it and follow the simple instructions.

There are no such simple instructions on the Canon or Nikon, so bring your manual with you!