Hi Folks! Scott Giorgini here. I’m not only the creator and editor of MirrorlessCentral.com. I’m also a “Hybrid Hero” for my good buddy Will Crockett on DiscoverMirrorless.com – the website that’s all about the emerging art of “Hybrid Photography” – which is the skillful blending of still photos and videos, and BOY is our message catching fire!
I got my start as a DJ back in the late 80s and I have decades of experience in radio and television production (which I moved into in the 90s and 2000s), so Will asked me if I could write up some posts that focus on the Secret Ingredient that can make or break your Hybrid eProducts. So, here goes…
As you have no doubt seen in this space, the times, they are a-changin’, and a new era of creative imaging is upon us – the era of Hybrid Photography
Hybrid Photography is of course, the skillful blend of still photos and video into a whole new art form, and frequent visitors to this site have seen some dazzling displays of Hybrid Photography already.
But as still photographers recognize the need to go Hybrid, and they strike out to incorporate video into their work – they are quickly realizing that one of the most important components of video… is AUDIO.
Knowing what to do, and what NOT to do with audio can literally make or break your Hybrid Project – and just as great audio can launch your images into orbit, bad audio can just as easily bring your projects crashing to the ground.
As a matter fact, you’ll probably find that people will be a lot more forgiving of a so-so video with excellent audio than they will be of a spectacular video with sub par audio.
The good news is, you don’t have to be intimidated – because mastering the basics of high quality audio isn’t that hard to do.
Now… there are several common mistakes that people make when recording audio for their Hybrid eProjects, and some of the most common are as follows:
I’m now in the process of creating an in depth video that will reveal the best tools and techniques to create the highest quality audio for your hybrid eProjects. So stay tuned… and if you have any questions at all, please enter them into the “Ask Will” section on DiscoverMirrorless.com, or leave a comment on this page.
Nate “Blunty” Burr pits the brand new Olympus flagship camera, the PEN E-P5 in a shot for shot, clip for clip, side by side shoot-out comparison to find out how far ahead the new EP5 has strode past the camera it replaces, the PEN EP-3.
The new PEN E-P5 is loaded up with the same sensor and image processor as Olympus’ former flagship, the OM-D E-M5 – a 16mp chip vs the 12mp chip found in the E-P3, and Blunty’s comparison is a testament to just how far mirrorless technology has progressed in the last couple of years. Not only does the E-P5 provide better image quality and higher dynamic range, it also boasts Olympus’ breakthrough 5 axis in body image stabilization and a host of other upgrades over it’s predecessor.
The Olympus PEN E-P5 is an impressive camera to say the least, and is a worthy successor to the OM-D E-M5 as Olympus’ flagship camera – although it’s reign might be short lived as a successor to the OM-D is expected later this year. When compared to it’s predecessor, the PEN E-P3, the E-P5 wins hands down. The E-P3 was a great camera when it came out. Heck, it still is a great little camera and at $369 USD, it may be a good fit for someone who’s just getting into interchangeable lens systems and is on a budget (Personally though, if I were looking for a great entry level mirrorless system at a bargain price, I would opt for a Panasonic Lumix GX1 vs an E-P3. Otherwise, I would go for a PEN Lite E-PL5). Those looking to pull the trigger for a top tier camera will find a better comparison between the PEN E-P5 and the Olympus OM-D E-M5, Fuji X-E1 (which is only $799 Body Only at the time of this posting) or Panasonic Lumix GH3.
Buy the Olympus PEN E-P5 on Amazon Here
You can now get your hands on 2 of the best cameras of the last year at a significant discount. Fujifilm have slashed the prices of their X-Series cameras by $200, so you can now get the Fuji X-Pro 1 Body for only $1,199 USD, and the Fuji X-E1 Body is now selling for only $799 USD on Amazon. These cameras are a still shooters dream and Fuji’s X-Trans Sensors produce some of the best image quality in the business.
Buy the Fuji X-Pro 1 Body or the Fuji X-E1 Body on Amazon Here
A while back, sigma announced that they were revamping their lens lineup for micro 4/3 and Sony NEX cameras. At the time, they offered 2 of the best budget lenses for either of these mirrorless systems – namely, their 19mm 2.8 and 30mm 2.8 lenses. Now, the reboot is complete and the new versions of these lenses are hitting the market as part of Sigma’s new “Art” lens collection, and they’ll be joined by a 60mm 2.8 lens as well. Will these new lenses be a worthy addition to your lens collections and do they warrant an upgrade over the previous versions?
In an episode of DigiDirectTV (above), Blunty displays quite a bit of enthusiasm for the new 30mm 2.8 lens, and in my opinion, rightfully so. After all, I was quite impressed with the previous version, especially for the price.
First up, the new versions have a better build quality. Sigma have done away with the plastic casings of old and replaced them with a shiny metal body (you can get them in either black or silver) that feels much more solid in the hand. They also appear to have addressed the rattling issue with the previous version (the inner mechanisms of the lenses would rattle inside the body whenever the lens was not attached to the camera body and engaged). Manual focus rings are buttery smooth and responsive. Each lens also comes with a lens hood and a padded case to keep it secure when it’s not attached to your camera.
One of the biggest reasons why these Sigma lenses are among the best budget lenses that you can get (for either micro 4/3 or Sony NEX) is that they are good lenses, period. Autofocus is quick and accurate (but in my experience, it works a bit better on Panasonic cameras like a Lumix G5, although I have not tried them on a newer Olympus camera, such as a PEN Mini E-PM2, PEN Lite E-PL5 or the new Olympus flagship camera, the PEN E-P5). The images produces are sharp and color reproduction is accurate. Then again, the same was true of the older versions of these lenses, so this is no surprise.
Speaking strictly for micro 4/3, it all depends… If you’re just moving into micro 4/3, you need some good primes and you’re on a budget, then these Sigma lenses are great options, but if you have the budget for, or already have, some of the go-to M43 lenses like the Panasonic 20mm 1.7, Olympus 45mm 1.8 or Panasonic-Leica DG Summilux 25mm 1.4, then you can probably skip these. Likewise, if you already own the previous versions of these, you probably don’t need to upgrade unless you really like the shiny new casings.
I would personally categorize the Sigma 19mm 2.8 and 30mm 2.8 lenses as “very good”… even “very very good.” While they’re not quite on par with the top tier M43 lenses like those mentioned above, or pro zooms like the Panasonic Lumix 12-35mm 2.8 lens, they’re not too far off either, and you might be surprised at just how good these lenses actually are – especially considering the price ($199 USD each). I personally own the older versions of each (I got a killer deal on them late last year) and I’ve been extremely pleased with the results they provide, but other than build quality I don’t really see a need to upgrade and won’t be doing so.
Still, these are some of the best budget lenses for any camera system and I highly recommend them if you’re starting your collection of M43 glass – especially on a budget.
Buy the Sigma 19mm 2.8 Art Lens and Sigma 30mm 2.8 Art Lens on Amazon Here
In the video above, Protog David Hobby takes us on an in depth feature by feature walkthrough of the Fuji X100s premium fixed lens compact camera. The X100s features a second generation X-Trans II Sensor and EXRII Processing Technology that take the already excellent performance of Fuji’s X-Series cameras to new heights. Indeed, the X100s is turning a lot of heads and is finding it’s way into the camera bags of many highly renowned photo pros.
Buy the Fuji X100s on Amazon Here
Fuji has released a new firmware update for the Fujifilm X100S fixed lens compact camera. Firmware update v 1.03 knocks out a bug that can sometimes cause, as Fuji puts it, “a grainy image like TV fuzz” to appear on the rear screen while in live view mode. You can download the firmware update below.
>>CLICK HERE<< to access Fuji X100s firmware update v 1.03
Buy the Fuji X100s on Amazon Here
Images of Kodak’s soon to be released micro 4/3 camera – the Kodak S1 – have hit the web on DCFever (Google Translated Version Here).
The Kodak S1 is slated to be released later this year and the camera is equipped with a tilt LCD screen, hot shoe adapter, a dedicated video recording button, customizable function buttons, and a built-in WiFi and APP system that will allow control of your camera via your mobile devices.
The Kodak S1 is the first camera in a cooperative venture between Kodak and JK Imaging. Because the S1 is a micro 4/3 camera, users will have an arsenal of lenses from which to choose, but the article also notes that Kodak and JK Imaging are planning on releasing their own lenses as well – starting with 2 micro 4/3 zoom lenses.
(via 43Rumors)
3rd party lens manufacturer Samyang/Rokinon are releasing a new 300mm f/6.3 lens for Sony NEX, Panasonic and Olympus micro 4/3, and Samsung NX mirrorless camera systems. The new lens will come in black or silver and retail for $299 USD. Look for the lens to be launched in July of this year (2013). Check out more on their Facebook Page.
(via MirrorlessRumors)
Chris Niccolls and Chris Tait of theCameraStore pit the Ricoh GR against the Nikon Coolpix A – mono a mono – to see which is the better performer. Will the GR take the crown or will the Coolpix A emerge victorious?
Within a month of each other, both Nikon and Ricoh launched compact cameras with large sensors and 28mm equivalent lenses. Which is a better buy, The Ricoh GR or the Nikon Coolpix A? Chris Niccolls from The Camera Store TV met up with street photographer Chris Tait to find out which camera you should check out.
This is a head to head comparison of 2 very good cameras that offer excellent quality in still photos mode and good quality in video (although I wouldn’t choose either if I was looking for a video or hybrid camera). The Coolpix A is the pricier of the 2 and each have their challenges, especially in low light. Chris and Chris eventually pick the Ricoh GR over the Nikon Coolpix A, based mostly on the fact that the GR costs several hundred dollars less, and in this case I would be inclined to agree with them. The Coolpix A will appeal to Nikon users, but if you’re looking for an excellent compact in that price range, I would recommend going with a Fuji X-100s, which in my mind is the best compact camera available today. Likewise, the GR is a tempting option for those looking to save a few hundred dollars, but in that mid range price range, I would recommend going with a Sony RX-100, which offers outstanding video performance to go with the still photos capabilities.
Buy the Ricoh GR or the Nikon Coolpix A on Amazon Here
Fujifilm has issued a firmware update for the Fujifilm X-Pro1 (Version 2.04) and Fujifilm X-E1 (Version 1.05) compact system cameras. The upgrade improves auto focus speed with the XF55-200mmF3.5-4.8 R LM OIS lens.
You can download the firmware upgrades from the links below.
Download X-Pro1 Firmware Update Version 2.04 Here
Download X-E1 Firmware Update Version 1.05 Here
(Fujifilm X-E1 overview above courtesy of DigitalCameraWorld)
There’s no question that Olympus have been one if the true leaders when it comes to innovation in digital cameras over the last few years. The celebrated Olympus OM-D E-M5, with it’s revolutionary 5 point in body image stabilization, is hands down one of the best cameras of the last year, and it got many a photog to ditch their DSLRs and move over to mirrorless. Now Olympus have launched the new PEN E-P5, which supplants the OM-D as their flagship camera and surpasses it in many aspects (see Matt Granger’s overview above), and their M.Zuiko lenses are among the finest available for any type of camera. But despite Olympus’ prominence in the digital camera world, there sre some who are speculating that the brand will not survive for much longer.
In a Yahoo Finance article entitled “Ten Brands That Will Disappear in 2014,” there’s a list of – you guessed it – 10 familiar brand names that aren’t long for the marketplace. Chief among these are highly recognizable names like J.C. Penney, Nook, Martha Stewart Living, the WNBA and Volvo.
That’s right… Olympus occupies the number 6 spot on the list. Yahoo Finance points to a dwindling market, thanks in large part to the advent of the smartphone “which now offer lenses and chips that capture high-quality images — as an alternative to digital cameras.”
Of Olympus, Yahoo reports that “for the next fiscal year, the outlook is grim. Olympus expects compact camera unit sales to fall from 5.1 million to 2.7 million units worldwide. But these declines are hardly a new trend.” (Read full article on Yahoo Finance)
Of the companies that I list as the top four players in mirrorless cameras, Olympus have the least when it comes to operating capital, but I wouldn’t write them off just yet. While it’s true that the market for point and shoot compact cameras is dwindling, it’s also true that there is a high demand for quality cameras like the OM-D E-M5 and the new PEN E-P5, as well as their award winning mid range offerings like the PEN Lite E-PL5 and PEN Mini E-PM2. Look for Olympus to put more focus [no pun intended ~_^] on camera systems like these. Also bear in mind that Sony and Olympus have recently entered into a “partnership” (and Sony have deep pockets), so even if the name does eventually disappear, look for the technology to live on under the Sony moniker.
Youtube User DIGIFOTO Pro posted the video quality comparison above between the Panasonic Lumix G6 and Panasonic’s former flagship, the Lumix GH2 (you can see Part I of our video quality comparison here).
Just to recap, the Lumix G6 and GH2 share the same sensor. But the G6′s processing engine is now several generations beyond that of the GH2 and allows the G6 to tap into much more of the sensor’s brilliant image capturing capacity in still photos mode. But does the Lumix G6 match up well with the legendary GH2 in video mode?
Watch the video above, which shows both graded and ungraded footage from the Lumix G6 and a hacked GH2.
Personally, the G6 video footage looks brighter and punchier to me, with better high ISO performance and dynamic range (Youtube compression notwithstanding). It outclasses it predecessor, the Lumix G5, in the video department as well, and even slightly bests it in still photos, where the G5 shines. At a price of $749 USD, The Panasonic Lumix G6 is poised to become one of the most popular Hybrid Cameras of the year. Put me down for one.
What do YOU think? Leave a comment below…
Buy the Panasonic Lumix G6 on Amazon Here
Flickr has unveiled a “Spectaculr” new redesign, now offering it’s free users a “Biggr” place to put their files while sharing them “Wherevr” they would like – or as Flickr puts it “upload once, send to any device, any screen, any friend, and any follower.”
Before the redesign, free accounts were capped at 2 videos and 300MBs worth of photos per month. But now you can upload photos and videos to your heart’s content as each free user is now allotted 1TB (that’s a full terabyte) of storage, including photos of up to 200MB and videos of up to 1GB (and 3 minutes in length)!
The “Spectaculr” part is that you can now “share in full resolution,” as all of your photos will be “beautifully displayed in their original quality.”
If you don’t already have a free Flickr account, you can sign up for one >>HERE<<
(video above courtesy of CNETTV)
Legendary lens maker Carl Zeiss are jumping into the mirrorless market with their new line of Touit Lenses for Fuji X-Mount and Sony NEX camera systems. The Touit lens lineup is aimed at the high end user, and at a price of about $1,250 USD (for the 12mm 2.8 X-Mount lens), that’s the target market that they’ll be hitting. But will the new Touit lenses be worth the price?
The Phoblographer got their hands on the new 12mm 2.8 Touit lens for fuji X-Mount cameras and put it through it’s paces. The following are excerpts from their first impressions…
| Features | |
|---|---|
| Image Stabilization | No |
| Autofocus | Yes |
| Physical | |
|---|---|
| Filter Thread | Front: 67 mm |
| Dimensions (DxL) | Approx. 2.56 x 3.39″ (65 x 86 mm) |
| Weight | 9.52 oz (270 g) |
Build Quality
This lens is made from metal and glass. However, this doesn’t feel like any metal that we’ve felt before.
Ease of Use
This lens is much easier to use in autofocus mode than in manual mode.
Autofocusing
Autofocusing with the 12mm f2.8 is snappy and perhaps even faster than with Fujifilm’s 14mm f2.8. However, it is faster on Sony’s camera”s than Fujifilm’s–but this has to do with the focusing algorithms instead.
First Impressions
So far, we really can’t say much terrible about the Zeiss 12mm f2.8. It has excellent color rendition on the X Pro 1, is sharp, focuses silently and snappily, and is really small for what it is. (Read full article on thePhoblographer)
The image quality of thePhoblographer’s test shots looks great, but what else would you expect from Zeiss? The addition of these lenses is good news for Fuhi X-Mount users and great news for Sony NEX users. I’m looking forward to seeing more on these lenses in the near future. Stay Tuned…
The Metabones Speedbooster Adapter has been all the buzz for the last several months, and that’s no surprise considering the lofty promises of this particular piece of equipment.
Unlike a standard lens adapter, which would allow you to mount say, your canon EF lenses on a Sony NEX or Micro 4/3 camera, the Metabones Speedbooster also includes a built in focal reductor – a peice of glass that takes the incoming light from the full frame lens and re-focuses it to fit onto the sensor of the host camera. This is purported to have the effect of making the lens wider and faster, increasing your maximum aperture by a full stop.
The Metabones adapter for Sony NEX camera has been available for a while now, and PetaPixel is reporting that the new micro 4/3 version is beginning to make appearances. Although it’s public launch has been pushed back to later in the year, some renowned M43 users have gotten early releases for testing, including filmmaker Philip Bloom and EOSHD’s Andrew Reid, who states that “Micro Four Thirds needs the Speed Booster more than any other camera.”
The video above from AFMarcotec gives a good overview of just what the Metbones Speedbooster can do, but despite the adapter’s capabilities and the early assessments of testers, one must beg the question…
In my opinion, there’s no clear cut answer to this question as there are numerous factors that one must consider.
First and foremost, lets take a look at what the Metabones can do. There’s no denying that there are some delicious, high quality lenses out there from Canon, Nikon, Leica, etc. – and the prospect of using these lenses on your mirrorless system while gaining an extra stop is greatly appealing indeed. But will these lenses be any better than the native glass that you can get for your mirrorless system that is made specifically for your camera? Since there are several types of shooters out there, lets break this down a little further.
If you’re a beginner or hobbyist who’s just moving into interchangeable lens systems, the I would recommend that you just stick with your camera’s native lenses for the time being – especially micro 4/3 users, who have the largest array of high quality lenses to choose from among any mirrorless camera system.
If you’re an enthusiast who likes to regularly get out and shoot photos and videos, but you don’t already have a collection of lenses, I would still recommend sticking with your camera’s native lineup. Again – in my opinion – it’s better to invest your money in lenses that are made specifically for your camera system. Even if you have an NEX system (and there’s not a ton of great lenses for those as of yet), I would be inclined to spend my hard earned cashola on a new Zeiss Touit lens or two before investing in a Metabones and a piece of expensive legacy glass. Besides, in my mind, slapping an adapter and a huge bazooka-like lens onto the front of a small mirrorless body defeats the purpose.
No matter what camera body you’re using, you main goal should always be to collect as many high quality lenses as possible. So if your plan is to pick up a Metabones Speedbooster so that you can use some el cheapo legacy lenses, then your money will be better spent elsewhere.
While the Speedbooster may not be for everyone, there are definitely some people out there who should give it a serious look…
In my mind, the most valid of the above are the first two. But even if (in the case of number 1) you have a large collection of legacy lenses, you might want to consider selling them off while they still have great value and look at their mirrorless alternatives that are built to fit your system. Whenever you use an adapter, you should be aware that you will open the door to potential issues. I’m not saying that you’ll have any, but the door will be open.
What do YOU think? Are you planning on picking up a Metabones Speedbooster? Leave a note in the comments below…
Legendary lens maker Carl Zeiss is now hopping on board the Mirrorless Express with the introduction of their new “Touit” lenses for Sony NEX and Fuji X-Series camera systems. This is especially good news for Sony NEX users, who until now have been hampered with a very limited supply of high quality native lenses, or with the prospect of using adapters to mount their large legacy lenses onto tiny NEX camera bodies (can you say awkward?).
Zeiss are launching the line with two lenses, a 12mm f/2.8 and a 32mm f/1.8, and the folks at CameraLabs got their hands on both to take them out for a spin. Will these new lenses live up to the Zeiss name?
Overall both lenses were extremely satisfying to use. They looked serious and felt great – indeed I could rarely put them down for long without wanting to try them again. The 12mm f2.8 in particular is an exciting proposition as the widest prime available for Sony E or Fuji X mounts. The 32mm f1.8 has a tougher job on its hands though, especially for the Fuji X system which already has a highly regarded 35mm f1.4. Zeiss wouldn’t be drawn on quality comparisons, but it’s something I’ll happily do when I have both lenses at the same time.
They’re also priced competitively for high-end lenses: around $1250 USD or 900 GBP for the 12mm f2.8 and around $900 USD or 700 GBP for the 32mm f1.8, and rather than tease us, I’m pleased to announce Zeiss should be selling them in a matter of weeks or even days. (Read full article on CameraLabs)
The addition of Zeiss lenses to Sony’s NEX and Fuji’s X-Series camera lineups will no doubt fuel the fire of competition between these systems and the micro 4/3 offerings from Panasonic and Olympus, who have until now enjoyed a substantial advantage in the sheer number of high quality native lenses that are available for the line. As far as I’m concerned, competition is always a good thing and I fully expect to see even more innovation, image quality and revolutionary systems to emerge from the mirrorless realm. Stay tuned!
ThinkTank are one of the premier manufacturers of Camera Bags and Cases on the planet today, and they have just released a new line of camera bags designed specifically for mirrorless cameras called “Mirrorless Movers.”
In the video above, MC Contributor and Hybrid Photography Pioneer Will Crockett (DiscoverMirrorless.com) introduces the new line.
Will Crockett is giving away several ThinkTank Mirrorless Mover bags to people who buy his new streaming video, “The ABCs of LEDs.” We highly recommend the video. It’s only $9.99 to watch and it’s absolutely chock full of info you’ll need to know as you start shooting more Hybrid. >>CLICK HERE<< to watch it now!
The Mirrorless Mover 5 – fits one small size mirrorless body with a small telephoto or pancake lens attached. It is sized for the Canon EOS–M, Leica D–Lux, Nikon 1 series, Olympus E–PM2, E–PL5, EP–3, Panasonic GF3, Sony NEX–C3, or similar sized bodies.
The Mirrorless Mover 10 – fits one medium size mirrorless body plus one to two lenses and additional accessories. It is sized for the Leica V–Lux, Olympus OM–D E–M5, Panasonic G5, GF5, GH2, Samsung NX5, NX11, NX210, Sony NEX–5, NEX–6, NEX–7, or similar sized/smaller bodies.
The Mirrorless Mover 20 – fits one medium size mirrorless body plus two to three lenses and additional accessories. It is sized for the Leica V–Lux, Olympus OM–D E–M5, Panasonic G5, GF5, GH2, Samsung NX5, NX11, NX210, Sony NEX–5, NEX–6, NEX–7, or similar sized/smaller bodies.
The Mirrorless Mover 30i – fits one medium to large size mirrorless body plus two to four lenses, iPad, and additional accessories or a small–size DSLR and one to three small telephoto lenses or primes. It is sized for the Fuji X–Pro 1, Leica M8, Panasonic GH3 or similar sized/smaller bodies. Small DSLRs: Canon Rebel, Nikon D3200/D5200, Sony SLT–A55/A37 or similar sized bodies.
Exterior: All fabric exterior treated with a DWR coating while fabric underside is coated with PU for superior water resistance, YKK® RC zippers, 1680D ballistic polyester, 600D brushed polyester, Ultra-stretch pocket, antique nickel plated metal hardware, 3-ply bonded nylon thread.
Interior: removable closed cell foam dividers, 200D polyester, laminated non-woven backed nylex liner, polyester 190T seam-sealed taffeta rain cover, 3-ply bonded nylon thread.
Buy a ThinkTank Mirrorless Mover Camera Bag on Amazon Here
When Panasonic Launched the Lumix G5 last year, it was touted by many as the GH2.5, but even though the G5 is built around the same sensor that powers the highly celebrated Lumix GH2 and it’s updated Venus Image Processor considerably upped the sensor’s image capturing capabilities in still photos mode, the G5 lacked the manual controls, mic input and full array of video modes packed into the GH2. Enter the new Lumix G6, which is still loaded up with the same GH2 sensor, but it’s packing an even more advanced Venus Image Processor for faster autofocus and better low light performance, and the G6 also brings a much more robust video package to boot.
Will the release of the Panasonic Lumix G6 finally represent realization of the GH2 sensor’s full potential?
43Rumors posted a video (above) from one of their readers named Julian, who compared the capabilities of the GH2 vs the G6 in video mode. Although Youtube’s compression undoubtedly does this video little justice, I feel the video serves as a good reference when comparing the 2 cameras.
“The G6 looks better to me. Better shadow detail and a bit more detail in the highlights. Probably due to the flatter picture style (contrast -5).
The G6 shares the picture styles with the GH3, so no smooth like on the GH2. Kept both camera’s on standard to keep it as close as possible. Everything dialed down maximum.
Less noise at high iso’s, less banding. Couldn’t detect any moire.
Looks a tad less sharp than (hacked) GH2, but that could be up to the sharpening at -5. With some sharpening probably same detail level.
Rolling shutter looks the same to me.” (Read article on 43Rumors)
I’ve personally been shooting with a Lumix GH2 and a Lumix G5 for several months now and I love them both, but for different reasons. I’m a video first shooter and was originally drawn to the GH2 because, well… it’s an incredible video making machine, and to this day, it’s still one of the best video cameras you can get. Although the GH2 takes great stills too, it’s a notch below most of the competition in that department and since I was looking to add more stills into my work as well, I picked up a G5, hoping that it might be an all in one solution.
The G5 delivers BIG in several areas vs. the GH2 – it takes great still photos, it’s easy to use, has better autofocus, performs better in low light, etc., but the GH2 has it all over the G5 when it comes to video. Don’t get me wrong, the Lumix G5 is a capable video shooter and produces great HD quality video. It’s one of the best hybrid cameras in the world right now (and at only $498 USD with a kit lens, it’s also one of the best deals around), but it lacks the GH2′s manual video controls, full array of video modes (i.e. – there’s no 24p mode), and mic input jack. Consequently, I’ve been using the G5 mostly for stills and the GH2 for video.
The Lumix G6 may finally represent the all in one camera for under $750 USD that many have been waiting for. If the G5 is a “GH2.5″, then the G6 is undoubtedly a “GH2.8″ – it’s not quite a GH3, but I feel that the G6 is going to turn a lot of heads as it marks the return of manual control, a vast array of video modes, a mic input and wifi + NFC as well.
As for the video comparison above, I agree with Julian that the G6 footage generally looks better than the GH2′s. The footage is brighter, punchier, and the details are much more defined.
This may just be the world’s best mid-level hybrid camera.
Buy the Panasonic Lumix G6 on Amazon Here
Blunty’s back, and this time he’s continuing his series of videos on the new Olympus PEN E-P5 with performance tests of the new camera’s still photo and video capabilities.
(see video above) No surprises here… and that’s a good thing! The PEN E-P5 lives up to the expectations you would have for a camera that’s loaded up with the top caliber sensor and image processor from Olympus’ former flagship OM-D E-M5. The camera takes it’s place as Olympus’ new flagship by building on the absolutely stellar image quality that made the OM-D a worldwide sensation and adds enhanced low light performance and quicker autofocus while also building on the OM-D’s now legendary 5 point IBIS. As a still photos shooter, the PEN E-P5 promises to be among the very best.
Although the E-P5 represents an upgrade in the video department over it’s predecessor, the PEN E-P3, this camera is not a tool for the serious videographer. Being confined to 1080 30p framerates will make it a viable solution for family video shooters, but those looking to capture events or get into indie filmmaking will have to look elsewhere.
The Olympus PEN E-P5 comes in black, silver and white and sells for $999 USD (Body Only), or you can get it in black or silver for $1,449 USD with the 17mm f/1.8 lens (which is excellent) and VF-4 Viewfinder.
Buy the Olympus PEN E-P5 with 17mm f1.8 lens and VF-4 Viewfinder or Olympus PEN E-P5 (Body Only) on Amazon Here
The Olympus PEN E-P5 is about to be launched, and Nate “Blunty” Burr is back to put it through it’s paces, Blunty style. In this video (above), Blunty gives an excellent overview of the E-P5 Hardware as well as taking it’s new WiFi and App system out for a spin.
The PEN E-P5′s retro styling is inspired by Olympus’ classic PEN F SLR camera.
Although it’s not weather sealed and it lacks a built in EVF, the Olympus PEN E-P5 is, for all intents and purposes, the next generation of the OM-D E-M5 – and it takes the OM-D’s place as Olympus’ new flagship model. I’ll reserver final judgement until the full production model is released, but it looks as if Olympus have another winner on their hands and I expect the E-P5 will be popular among pro and enthusiast photographers alike.
The Olympus PEN E-P5 comes in black, silver and white and sells for $999 USD (Body Only), or you can get it in black or silver for $1,449 USD with the 17mm f/1.8 lens (which is excellent) and VF-4 Viewfinder.
Buy the Olympus PEN E-P5 with 17mm f1.8 lens and VF-4 Viewfinder or Olympus PEN E-P5 (Body Only) on Amazon Here
Back on Valentine’s Day, we posted an article about a couple of films shot with the Panasonic Lumix GH2 that were making waves at the Sundance and Slamdance Fim Festivals. Now one of those films, a sci-fi thriller by director Shane Carruth called Upstream Color (see trailer at the top) is starting to pull some big numbers at US Box Offices, amassing over $300,000 USD in receipts (and counting). This is great news for indie filmmakers, especially considering that it’s now possible to capture cinema quality HD footage with a camera that costs less than $1,000 USD, and there are other advantages to the GH2′s smaller form factor as well.
(via EOSHD)
The film was shot on the Panasonic GH2 with hack, Voigtlander lenses and the Samyang / Rokinon 85mm F1.4.
The film is also now available to download / stream from various places, [but] if you want to wait to see the GH2 perform in a proper theater (like me) I recommend seeing it in a cinema. You can see the latest screenings here.
People say it looks glorious on the big screen.
Critical Acclaim…
The film has also been met with a very enthusiastic response by critics, with the Boston Globe calling it a “hypnotic thriller” and the Hollywood Reporter saying the film is worth seeing for “brilliant technique, expressive editing, oblique storytelling and for discovering a significant new actress”.
The Telegraph’s critic said “my immediate desire when it ended was to stay in my seat and watch it all the way through again.”
Advantage – GH2…
The film truly makes use of the unique point of view made possible with such a small camera, placing it in all kinds of places you wouldn’t normally put a heavy Alexa (like on a car dash or in a swimming pool). I highly recommend seeing this film, even if you are not interested in seeing how the GH2 performs on the cinema screen. (Read article on EOSHD)
It’s great to see that someone with a limited budget can now realistically bring their vision into reality, and cameras like the GH2 (and now the Lumix GH3 and Blackmagic Cinema Camera) are proving that you can indeed achieve superb image quality with a smaller sensor. Some people were disappointed that the new Panasonic Lumix G6 is still utilizing the sensor from the GH2, but I’m thrilled. That sensor has proven to be capable of amazing things in video, and Panasonic are adding still photo quality to the mix as well. With the G6 incorporating much more advanced video capabilities with a price tag of $749 USD, upstart and indie filmmakers now have a variety of choices to get their vision onto the big screen. These are exciting times!
Buy the Panasonic Lumix GH2, Lumix G6 or Lumix GH3 on Amazon Here
Kai Wong, Alamby and Lok C of DigitalRevTV are on the road in London, England. Their mission… to shoot 10 locations in 48 hours, using both old analog film cameras as well as modern digital cameras. As always, traveling with the DigitalRev crew is loads of fun.
In this video, DRTV does London…and in typically British-fashion: it’s cold and drizzly. Still, the team are challenged to visit 10 locations in less than 48-hours.
On the first day, they have to use crumbly old film cameras from a very long time ago. They struggle with the idiosyncrasies and Lok struggles with fighting the urge to go shopping. Kind of.
On the second day, it’s all about one camera, one focal length: 35mm vs 50mm.
The moral of the story? The world is a big place and there’s a lot of people, places and things that you can photograph (or video), so go out and get shooting!
After weeks of leaks and rumors, Olympus are finally poised to release their new flagship micro 4/3 camera, the PEN E-P5. The new camera brings an impressive spec list to the table and the E-P5 inherits a lot of tech from Olympus’ former flagship, the OM-D E-M5, including it’s superb sensor and image processor, lightning quick autofocus and breakthrough 5 point IBIS (In Body Image Stabilization). But does the E-P5 represent an upgrade over the O-MD and just what are the main differences between these two camera systems?
Two photography websites, ePhotozine and thePhoblographer, have posted side by side comparisons of the E-P5 and OM-D. While it’s important to note that the E-P5 has not yet been released (see video preview above from Blunty3000) and the final production model has yet to be put through it’s paces, it borrows enough tech from familiar models (most notably, the OM-D) that we can make a reasonably educated comparison of the two cameras.
(via ePhotozine)
| Olympus OM-D E-M5 | Olympus PEN E-P5 |
| 16.1 megapixel sensor | 16.1 megapixel sensor |
| 5-axis image stabilisation (up to 5EV compensation) | 5-axis image stabilisation (up to 5EV compensation) |
| 3 inch OLED 610k dot tilting touch-screen | 3 inch 1037k dot tilting touch-screen |
| 9fps shooting, 4.2fps continuous shooting with AF | 9fps, 5fps with continuous AF |
| 1/4000s mechanical shutter | 1/8000s mechanical shutter |
| 1/180s x-sync external flash, 1/250s attached | 1/250s x-sync external flash, 1/320s internal |
| Full HD, MPEG4 MOV, 720p MJPEG | Full HD, MPEG4 MOV, 720p MJPEG |
| Stereo mics, accessory port for microphone etc | Stereo mics, accessory port for microphone etc |
| ISO range 200-25600 (Lowest ISO200) | ISO range 100-25600 (extends to LOW 100) |
| N/A | Focus peaking |
| 2 axis electronic spirit level | 2 axis electronic spirit level |
| 2 Function buttons (dedicated) | 1 dedicated function button |
| 1.44 million dot EVF | Optional |
| N/A | Wi-Fi built in |
| External flash included (Guide 10, ISO200) | Built in pop-up flash (Guide 10, ISO200) |
| Weather sealed body, battery grip available | N/A |
| 330 shot battery life | 400 shot battery life |
| Weight: 373g | Weight: 378g |
| Size: 121 x 89.6 x 41.9mm | Size: 122 x 68.9 x 37.2mm |
| Body only: $949 USD | Body only: $999 USD |
Olympus PEN E-P5 vs OM-D E-M5 Performance
We expect the performance of the E-P5 to be very similar if not identical to the OM-D E-M5, although there could have been further improvements to image quality implemented, and we will be testing the E-P5 fully when it is available. Where there could be advantages in image quality are due to the additional versatility provided by the faster shutter speed and lower ISO setting, allowing a wider aperture setting for a shallower depth of focus in bright conditions
Olympus PEN E-P5 vs OM-D E-M5 Verdict
The Olympus PEN E-P5 is now one of the highest specification Olympus Micro Four Thirds cameras available. The major differences between the two cameras, the internal electronic viewfinder, weather sealing and optional battery grip, on the OM-D E-M5 suiting the outdoor photographer more, while the small size of the Olympus PEN E-P5 would suit those looking to travel light without a compromise in image quality between the two. (Read full article on ePhotozine)
We’ve spent an hour with the EP5 as of writing this article and close to a year with the OMD. However, in our rundown it has been split down evenly to a complete tie between the two cameras. In the end, it will just mean whether or not you plan on taking your camera out into the toughest of weather situations and if you want to shoot like a pro with PocketWizards in the hot shoe and the viewfinder up to your eye.
Alternatively, you can shoot in ideal situations and upload your images via WiFi to a mobile device and share them with the world.
Which one are you best suited for? (Read full article on thePhoblographer)
The initial appearance is that these two camera are very closely matched in a head to head comparison, although this may change when the final version of the E-P5 gets into heavy use situations. The E-P5 is based largely on OM-D tech, but it gets a performance edge with it’s mechanical shutter, focus peaking, built in flash, wifi and battery life. The OM-D on the other hand is weather sealed, has a built in EVF, 2 function buttons (vs 1 on the E-P5), an optional battery grip and most importantly, it’s a proven commodity. Price wise, it’s pretty much a push when you just get the body ($999 USD for the E-P5 vs $949 for the O-MD), but if you go for the optional Electronic Viewfinder on the PEN E-P5, then you’ll be paying $1,449 USD (although that kit also comes with the M.Zuiko 17mm 1.8 lens, which is excellent) vs $1,199 USD for the OM-D E-M5 kit with the 12-50mm zoom lens.
My analysis here is that the PEN E-P5 has more of the features (i.e., wifi and focus peaking) that users were hoping for while the OM-D brings professional build quality. For the price, I wish the E-P5 had a built in viewfinder and it may have a difficult time competing with the likes of Fuji’s X-E1 and other cameras in the same price range, but it’s still an impressive piece of equipment that will no doubt appeal to pro and enthusiast shooters alike.
Buy the Olympus PEN E-P5 or the Olympus OM-D E-M5 on Amazon Here
Over the last few weeks there have been numerous rumors and leaks (including pictures) regarding Olympus’ new flagship PEN series micro 4/3 camera the E-P5. After all the teasing, Olympus have finally made it official, and the new camera should be shipping soon.
On the outside, the PEN E-P5′s retro styling is inspired by Olympus’ 50 year old classic PEN F SLR camera, but on the inside, the camera boasts in impressive array of specs and inherits the impeccable 16mp sensor and image processor from the highly celebrated OM-D E-M5. Other tech borrowed from the OM-D include the breakthrough 5 point IBIS (In Body Image Stabilization) system that delivers rock solid stability in both photo and video, and blazing fast autofocus.
The Olympus PEN E-P5 comes in black, silver and white and sells for $999 USD (Body Only), or you can get it in black or silver for $1,449 USD with the 17mm f/1.8 lens (which is excellent) and optional VF-4 Viewfinder.
Buy the Olympus PEN E-P5 with 17mm f1.8 lens and VF-4 Viewfinder or Olympus PEN E-P5 (Body Only) on Amazon Here
(via PetaPixel)
