Newsletter Overview

Table of contents

• Get Social with IR
• Sponsors
• Features
  • Canon 7D vs Canon 7D Mark II
  • August Photo of the Day Winners
• Reviews
  • Pentax 645Z Shooter's Report Part I
  • Sigma dp2 Quattro Shooter's Report Part I

• Quick Hits
  • Canon 7D Mark II First Shots
  • Olympus E-PL7 Gallery
  • Nikon V3 Image Quality
• Popular News
• Photokina Link-fest
  • Cameras
  • Lenses
• Next Issue
• Signoff

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Sponsors

Sigma

Sigma's approach to photographic equipment is based on quality, craftsmanship, value, customization and responsibility to photographers and the environment. All encompassed in our breakthrough, award-winning Global Vision lenses:

•     18-35mm F1.8 DC HSM
•     35mm F1.4 DG HSM
•     17-70mm F2.8-4 DC Macro OS HSM
•     120-300mm F2.8 DG OS HSM
•     USB Dock

All designed to deliver the highest optical quality and performance.
 

Samsung

Features

Canon’s venerable fast-shooting APS-C gets a major upgrade: We compare the 7D vs. 7D Mark II

When Canon introduced the 7D Mark II this past Monday morning it quickly shot to the top of our charts in traffic. Given it's been 5 years since the release of the original 7D (a veritable eternity in the digital photography space), we expected it to handily surpass its older brother in every way. But we didn't expect the new camera to give Canon's full-frame DSLR lineup a run for its money.

Yes, dynamic range and low-light suffer from the smaller sensor, but this camera eats the more expensive 5D Mark III (5D Mark III vs. 7D Mark II)  and 1D X (1D X vs. 7D Mark II) for lunch in nearly every other respect. Shooting speed isn't too far off the 1D X and trounces the 5D Mark III. The metering sensor is totally reworked compared to the 5D Mark III and 7D and even gets a resolution bump over the 1D X.

And video autofocus is way beyond either of the full-frame Canons. In fact, the smooth racking and focus lock feature puts the camera's video AF feature set much closer to the $4,999 Canon C100 and $12,000 C300 than to either the 5D Mark III or the 1D X! That might not be a big deal for pro videographers with a focus puller at their beck and call, but it definitely opens up new possibilities for everyone else.

Have a 7D and considering an upgrade? Just curious to see how far things have come in the last 5 years? Check out our 7D vs 7D Mark II comparison to find out! We're always looking for suggestions about the best camera matchup to cover next! Give us a holler in the comments here.

August Photo of the Day Winners!

A few weeks ago we posted a news piece about an interesting statistic regarding our Photo of the Day contest - namely that 57 out of the past 60 winners and placers were shot with either Canon or Nikon DSLRs. That trend continues this month with two Canon and two Nikon DSLRs taking home placements, but there's one notable exception:

Bob Jensen's first place image was taken with a Fujifilm X100S. This is the first time that a mirrorless model was used to capture our top honor over the past few years, and therefore marks an interesting breakthrough. Adding to the flair is that the model has been specially modified for infrared shooting, and I'll let Bob himself explain more about that below his award-winning image.

As always we're proud to crown our contest prize winners and worthy runners-up for the month of August. Thanks so much to everyone who enters our Photo of the Day contest, and congratulations to the winners this month! The top three all receive gift certificates from Adorama of $300, $200 and $100, respectively. Please keep the wonderful submissions coming our way!

First Place • Duck Rock by Bob Jensen • Fujifilm X100S (infrared)

Commentary for this prize winning image by photograoher Bob Jensen:

"After reading reviews on the Fuji X100S I purchased one and immediately fell in love with the quality of the X-Trans images. After using the X100S for a few months, I decided to have it converted to deep black infrared (850nm) by Kolari Vision of New Jersey. I have since had them also convert an X-T1 to 720nm.  The image of Duck Rock was taken in Canyon de Chelly National Monument in Arizona back in early July. My son and I were on a jeep tour of the Monument with Canyon de Chelly 4x4 Tours, also known as Beauty Way Jeep Tours. We were getting the typical summer monsoonal storm clouds throughout our northern Arizona trip. When we came to Duck Rock I couldn't resist taking some pics of it. The white leaves against that darker background of Duck Rock, combined with the monsoonal clouds was simply spectacular to see. There was rain falling around the top of it as well."

 

Second Place • Readington Balloon Fest by Pat Abbott • Canon 5D Mark II
 

Third Place • Enchanted Forest by Glenn Nagel • Nikon D800
 

First runner-up • Remember to Breathe by Sean Rooney • Nikon D4
 

Second runner-up • Inner Earth by Mike DiRenzo • Canon 5D Mark II

[Editor's note: Our publisher Dave Etchells customarily provides commentary about our monthly winning images, but is currently in transit to next week's Photokina trade show in Cologne, Germany and regrets having to miss this month. He'll be back with his insights and analysis for our September winners.]

For anyone wanting to know more about our competition please visit this news story which describes our contest and also offers some useful tips to help you succeed (like making sure to avoid overly obnoxious watermarks!). To see camera and exposure information on this month's winners or to visit previous months please visit our POTD winner's gallery.

Ready to submit a photo of your own? Just click here! And to compliment these photographers on their submissions or offer your own analysis, please use the comments section here.

[Editor's note 2: Dating back to the beginning of 2012, a photographer with a mirrorless model has only taken top honors twice until now - in both instances shooting with a Panasonic GH2.]

Reviews

Pentax 645Z Shooter's Report Part I

Ricoh's mighty medium-format takes on the mile-high city

Article by Mike Tomkins

I've shot with many professional DSLRs over the years, right back to when even the most expensive of pro gear consisted of digital innards shoe-horned into a repurposed film SLR body, but there was one type of camera that I'd never managed to get my hands on -- at least, away from the trade show floor. Until now, I've never had the chance to shoot a medium format DSLR. The Pentax 645Z is a first for me, and it's one I've been greatly anticipating. I don't think it's too much of a spoiler to say that it's living up to my expectations.

As I said on our news page when I posted my Pentax 645Z gallery a few days ago, this could never be considered a stealth camera. For a medium-format camera, it's actually reasonably compact, with similar width to a professional full-frame DSLR like the Canon 1D X or Nikon D3/D4-series, and since it lacks a portrait grip, it's significantly less tall than any of these. But with the best will in the world, there was little Ricoh could do to reduce its depth -- it has to fit in a medium-format mirror box, after all -- and so it's in this dimension that the Pentax 645Z stands out from other pro cameras. Depending on which of these pro cameras you choose to compare it to, the 645Z is about 30-50% deeper.

That makes it look much bulkier, although truth be told the difference really isn't that great. The 645Z's weight is almost indistinguishable from that of the Canon 1D X, despite its much larger sensor, and if you simplify and compare the outer bounds of each camera's dimensions, the Pentax is only about 5% larger than Canon's pro camera. And if you make a fairer comparison to something with similar sensor size and resolution -- say, a Phase One IQ250 digital back on a 645DF+ camera body, say, or Hasselblad's H5D-50c -- the Pentax 645Z is both quite a bit smaller and weighs significantly less as well.

My first few days in Colorado were, sadly, rather rainy and dreary -- but that gave me a chance to familiarize myself with the camera, and let me test out the weather-sealing. Lemonade out of lemons, folks!

But that squat, square profile draws attention, because it looks noticeably different to anything else most people will ever get the chance to see. Folks who would probably never show an interest in most camera gear spot that difference, and if they're even slightly interested in photography, they come up and talk to you about the camera. And that's with relatively compact lenses mounted, as well -- I can't begin to imagine how much attention you'd draw with, say, a 300mm or 400mm prime mounted.

After that first few days, the sun broke through, and the weather got progressively nicer for the rest of the trip.

Once I slotted a battery into the 645Z, I was in for a surprise. I was expecting, given that its larger sensor also means a larger mirror and viewfinder, that it would be quite a bit louder than an APS-C or full-frame DSLR, but it's not, really. In fact, I'd say some consumer DSLRs I've shot with have actually been louder! Again, it's not stealth -- the 645Z is certainly not a camera you'll sneak up with and take photos without anybody realizing -- but it's certainly not unduly loud either.

Now that 645 optics from the film days are back in production and available in the US market, there's a fair selection of glass available for 645 mount. Sure, it's predominantly older designs that predate Ricoh's 645 digital SLRs, but it works just fine with digital too. At the current time, you can choose from 17 optics -- of which three are DA or D FA digital-specific designs, and 14 are FA designs originally intended for film use.

Between them, you can cover everything from a 25mm wide angle to a 400mm telephoto. Not surprisingly for a camera format aimed at those seeking ultimate resolution and image quality, they're predominantly high-quality primes, although there are a few zooms to choose from as well. (And between the zooms, you can manage everything from a 33mm wide angle to a 300mm telephoto without any gaps in coverage.)

Along with the camera, I received an smc PENTAX-D FA645 55mmF2.8 AL[IF] SDM AW prime lens for test, a nice pairing that matched the all-weather design of the camera body with an array of seals in the lens as well. With a trip to Colorado looming, and no time for Ricoh to source further lenses for me, I checked in with our good friends at LensRentals. They have a fairly healthy selection of 645 lenses available, and while a good number of them were already rented, two were ready to be shipped to me in time for the trip: the smc PENTAX-FA645 75mmF2.8 and smc PENTAX-FA645 MACRO 120mmF4.

Photos shot with the 645Z are absolutely packed with razor-sharp detail. I'll talk more about high sensitivity / low-light shooting in my next Shooter's Report, but at lower sensitivities, noise is pleasantly film-like.

Although that left me with nothing wider than a 44mm-equivalent, perhaps not ideal for Colorado's sweeping mountain vistas, I was happy I'd be able to make do nevertheless. And of course, I brought along a tripod, too. My Feisol Traveler CT-3441S is rated as good for up to 22 pounds, far more than sufficient for the heaviest pairing I'd be shooting with, the 645Z with 120mm f/4 lens. (Together, these weigh just five pounds -- hefty for someone used to shooting a consumer or enthusiast DSLR, but not unreasonable compared to other pro cameras.)

At default settings, color is much as I expect from my APS-C Pentax DSLR: for the most part quite accurate, but with gently boosted saturation. Of course, you can tweak it to your tastes.

This was my first trip to Denver, originally planned to visit some close friends who'd moved out of state earlier in the year, so I didn't have too much idea where the best photo opportunities lay. A little while spent on Google, TripAdvisor, and a variety of other sites turned up some promising locations, though, and for a first visit I think I managed pretty well. (Both on the photo front, and getting to see some cool sights with my family and friends.)

Unfortunately, the first few days' weather weren't terribly cooperative, with lots of sudden, heavy rain showers and ever-present storm clouds. While I still got out and shot with the 55mm f/2.8, greatly appreciating the weather-sealed nature of body and lens, dreary skies meant relatively few shots like those I was looking for. Still, it gave me a great chance to familiarize myself with the camera, which had landed on my desk right before the trip when I was in full-on panic mode, trying to finish everything that had to be done before I left the office. And it gave me the chance to test that weather-sealing, too, which handled the rain with aplomb. (I expected no less, as I've shot with my APS-C Pentax DSLRs in the rain many times, and never experienced even the slightest concern.)

While I'm pretty familiar with Pentax's user interface and ergonomics as a long-time Pentax DSLR shooter, I was glad of that familiarization time. A fair few controls are shared with the company's APS-C DSLRs, but several do differ significantly -- especially the focus*, bracketing, and still / movie controls. And of course, there are some differences in the menu system, too.

Autofocus is swift and accurate when shooting through the viewfinder. In live view mode, it also works quite well, but the dedicated phase-detection sensor handles low light better. One quirk: the AF points are clustered near the center of the frame. I often found myself having to reframe images even when using the outermost AF points.

Check out the rest of Mike's 645Z Shooter's Report here for more blue Colorado skies and commentary on the 645Z's depth of field and performance!

Sigma dp2 Quattro Shooter’s Report Part I

High resolution, reportedly 30% higher than their previous Foveon sensor, created to "produce works of art"... this is what Sigma promises with the dp2 Quattro, the first model released in the all new Quattro series of fixed lens cameras. They further report improved speed in both processing and autofocusing, as well as better high ISO performance.

We at IR exist to unveil the truth about camera claims for you and separate out the hype, and we do this by taking the cameras down two roads. One is to put it through its paces in our storied laboratory, and you can expect much more to come in the weeks ahead regarding what we uncover there. The second is to send it out in the real world where the rest of you shoot and see just how well it does in those more common shooting situations.

The dp2 Quattro is a unique enough camera that we felt compelled to send it to one of our top reviewers, Eamon Hickey in New York, and let him share his experienced perspective with our readers on this camera. We've just posted his first Shooter's Report installment, so dive right in and enjoy his initial insights, including revised conversions of his sample gallery using the latest version of Sigma Photo Pro v6.06.

1/125s / f/5.6 / ISO 100 / converted using SPP v6.06
 

15s / f/8 / ISO 100 / converted using SPP v6.06

We've also now re-converted many of our standard test lab images using SPP v.6.06. For those of you who missed our recent article detailing the issues addressed with this new software version, as well as issues addressed with new camera firmware, please click here for all the details. For everyone else, the new conversions will now appear on our lab samples page, as denoted by "spp-606" in the image title.

[Note: there are still conversions on our lab samples page using SPP 6.05 for comparison purposes, and anything labeled "spp-605" or just "spp" in either the lab test page or the gallery page will be older conversions.]

[quick links: Sigma dp2 Quattro • Gallery • Lab Samples • Shooting]

QUICK HITS

Canon 7D Mark II First Shots: Let the image quality comparisons begin!

Canon was kind enough to send us a "beta" unit for an early start at lab testing. They've informed us that this sample is both shootable and testable, and it arrived here packing firmware version 1.01, so we're confident that this will be the final production version for overall image quality (but that's not a guarantee as there still could be subtle differences).

Head over to our 7D lab samples page for both the RAW and JPEG versions of our Still Life target, both of which are available for download for your own personal comparison purposes. Clicking on any thumbnail will bring up a larger image, from which you can access the EXIF data, full resolution image, etc.

And for comparing to other models or the original 7D, head to our Comparometer where you can pit lab samples side-by-side across the available ISO spectrum. Want to see how it looks beside the Sony A77 II or the Pentax K3, or perhaps even its full frame big brother the Canon 5D Mark III? Let our Comparometer be your truth-sayer for image quality testing purposes.

Since we're sure there are many of you interested in seeing the 7D Mk II beside the original 7D, we'll give you a sneak-peek here at ISO 3200:
 

7D on the left; 7D Mark II on the right

Olympus E-PL7 gallery: Pairing with primes, zooms and dabbling in the partial color palette

The Olympus E-PL7 Shooter's Report part I is now in progress, but we didn't want to make you wait on the initial batch of real world gallery images. We've just posted the first 24 shots to the gallery, straight from the camera including both JPEGS and RAW files for your inspection and downloads as well.

In the gallery are examples with the popular Olympus 14-42mm II R kit lens, two excellent primes in the Olympus 45mm f/1.8 M.Zuiko and the 60mm f/2.8 M.Zuiko, and two good workhorse zooms as well - the Olympus 40-150mm M.Zuiko and the 75-300mm II M.Zuiko - so that you can see plenty of lens flavor while evaluating the camera.

In addition there are examples with the new selective color mode, HDR mode and my own personal favorite filter - Dramatic Tone. All filenames are labeled with both the lens used and the mode if applicable. Clicking on any thumbnail will access a carrier page with EXIF information and a mid-sized image. Clicking on this will bring up the full resolution image as produced by the camera.

Here are a few to whet your apetite. Head over to our E-PL7 Gallery Page to browse the rest, and check back soon as we'll have you the first E-PL7 Shooter's Report in short order.

1/320 / f/5.6 / 84mm eq. / ISO 200 / Kit lens
 

1/160 / f/6.3 / 44mm eq. / ISO 200 / Kit lens

[selective color mode enabled]
 

1/160 / f/6.0 / 374mm eq. / ISO 400 / 75-300mm lens
 

1/400 / f/1.8 / 90mm eq. / ISO 1600 / 45mm lens
 

1/100 / f/1.8 / 90mm eq. / ISO 1600 / 45mm lens
 

1/500 / f/9.0 / 28 eq. / ISO 200 / Kit lens

[Dramatic Tone enabled]
 

1/200 / f/5.1 / 210mm eq. / ISO 1600 / 40-150mm lens

[slightly enhanced in post with shadow/highlight]

[quick links: Olympus E-PL7 • Gallery • Lab Samples]

Nikon V3 Image Quality Analysis: Has Nikon finally cracked the code for its 1-Series mirrorless cameras?

We were really eager to see how the Nikon V3's image quality stacked up, and if the new flagship Nikon 1-Series mirrorless camera improved significantly over the previous model, the Nikon V2. One of the common complaints about the V2 was its sub-par image quality relative to price, particularly at higher ISOs. 

The Nikon V3 has undergone some big changes under the hood compared to its predecessor. Complete with a new 18.4MP CX-format (1-inch-type) CMOS sensor that lacks an optical low-pass filter -- a first for a Nikon 1 camera -- and a new EXPEED 4A image processor, the Nikon V3 should offer a big boost not only in performance but image quality as well. The key word in that last sentence being "should." 

We've therefore pitted the V3 against the previous model, as well as other big players from other brands in the compact mirrorless and premium compact camera market. Challenging the Nikon V3 in our Image Quality Comparison showdown is the Canon G1X II, the all new Olympus E-PL7, the pocketable Panasonic GM1 and the popular Sony RX100 III, which also sports the same basic sensor size as the V3. 

We've also analyzed how the V3 looks in the real world with our popular Print Quality Analysis. We won't give away the details yet, but suffice it to say, it's a good showing in the print quality department for the V3 given its sensor size.

Popular News on the Site

At http://www.imaging-resource.com/news you can keep track of the photo news on our main site. Among the most popular stories over the last couple of weeks:

• Fuji X-T1 to ship in new color, kit bundle; feature-enhancing firmware update coming soon
  • http://www.imaging-resource.com/news/2014/09/10/fuji-x-t1-to-ship-in-new-color-kit-bundle-feature-enhancing-firmware-update
• Olympus E-M1 gets handsome new body color, new firmware features including tethered shooting
  • http://www.imaging-resource.com/news/2014/09/16/olympus-e-m1-gets-handsome-new-body-color-new-firmware-features-including-t
• Entry-level 24-inch Adobe RGB display from Eizo targets photographers
  • http://www.imaging-resource.com/news/2014/09/08/entry-level-24-inch-adobe-rgb-display-eizo-photographers-recalibration
• The fix is in: We test Sigma’s dp2 Quattro firmware and Photo Pro software updates
  • http://www.imaging-resource.com/news/2014/09/08/the-fix-is-in-we-test-sigma-dp2-quattro-firmware-photo-pro-software-updates
• Western Digital announces a wireless hard drive that photographers will love
  • http://www.imaging-resource.com/news/2014/09/08/western-digital-announces-a-wireless-hard-drive-that-photographers-will-lov
• Apple’s iPhone 6 and 6 Plus are bigger, promise improved cameras including on-chip phase-detect autofocus
  • http://www.imaging-resource.com/news/2014/09/09/apples-iphone-6-and-6-plus-are-bigger-promise-better-camera-functions

Photokina

Photokina 2014 brought a tidal wave of camera news, including major new announcements from every company. We don't have enough space to cover it all, so we've given you a brief recap below. Head over to Imaging Resource for all the details!

Cameras

• Full-frame Nikon D750 arrives with a number of firsts: incredible low-light AF, tilting display, in-camera Wi-Fi
  • http://www.imaging-resource.com/news/2014/09/12/full-frame-nikon-d750-arrives-incredible-low-light-af-tilting-display-wi-fi
• Fuji X100T launches with refined interface, better viewfinder and monitor, plus Wi-Fi sharing
  • http://www.imaging-resource.com/news/2014/09/10/fuji-x100t-launches-with-refined-interface-better-viewfinder-and-monitor-pl
• Canon 7D Mark II arrives, eats 1D X for lunch with more horsepower, amazing autofocus system
  • http://www.imaging-resource.com/news/2014/09/15/canon-7d-mark-ii-arrives-eats-1d-x-lunch-more-horsepower-amazing-autofocus
• Pro camera market has a new player: Samsung NX1 mirrorless shoots 15 fps with AF, and 4K video too
  • http://www.imaging-resource.com/news/2014/09/16/pro-camera-market-has-a-new-player-samsung-nx1-mirrorless-shoots-15-fps-wit
• Canon G7X lays claim to Sony RX100-series turf with longer lens, faster autofocus and touch-screen
  • http://www.imaging-resource.com/news/2014/09/16/canon-g7x-lays-claim-to-sony-rx100-series-turf-with-longer-lens-faster-auto
• Panasonic LX100 takes its own road: RX100-series rival boasts 4/3-inch sensor, blazing performance
  • http://www.imaging-resource.com/news/2014/09/15/panasonic-lx100-takes-its-own-road-rx100-series-rival-boasts-4-3-inch-senso
• Panasonic GM5: The tiny GM series grows an EVF, hot shoe and a host of new features
  • http://www.imaging-resource.com/news/2014/09/15/panasonic-gm5-the-tiny-gm-series-grows-an-evf-hot-shoe-and-a-host-of-new-fe
• Super-zoom gets super-long: 65x zoom Canon SX60 HS takes you to a stupendous 1,365mm telephoto
  • http://www.imaging-resource.com/news/2014/09/15/super-zoom-gets-super-long-65x-canon-sx60-hs

Lenses

• Olympus 40-150mm f/2.8 M.Zuiko Pro: Bright, portable and protected from the elements
  • http://www.imaging-resource.com/news/2014/09/15/olympus-40-150mm-f-2.8-m.zuiko-pro-bright-portable-and-protected
• Nikon to ship bright, ultra-wide 20mm full-frame prime, video-friendly SB-500 Speedlight imminently
  • http://www.imaging-resource.com/news/2014/09/12/nikon-to-ship-bright-ultra-wide-20mm-full-frame-prime-video-friendly-sb-500
• Sony’s new 28-135mm f/4 powerzoom lens is for full-frame E-mount video shooters
  • http://www.imaging-resource.com/news/2014/09/15/sonys-new-28-135mm-f-4-powerzoom-lens-is-for-full-frame-e-mount-video-shoot
• Fujifilm 56mm f/1.2 lens review and sample gallery: Fuji’s first f/1.2 prime knocks it out of the park
  • http://www.imaging-resource.com/news/2014/03/14/fujifilm-56mm-f-1.2-lens-review
• Panasonic launches 35-100mm zoom, 14mm prime lenses for Micro Four Thirds
  • http://www.imaging-resource.com/news/2014/09/18/panasonic-launches-35-100mm-zoom-14mm-prime-lenses-for-micro-four-thirds
• New optics for every budget: Canon launches 24mm and 400mm primes, 24-105mm zoom lens
  • http://www.imaging-resource.com/news/2014/09/17/new-optics-for-every-budget-canon-launches-24mm-and-400mm-primes-24-105mm-z
• Samsung launches bright, constant-aperture 50-150mm f/2.8 zoom lens
  • http://www.imaging-resource.com/news/2014/09/17/samsung-launches-bright-constant-aperture-50-150mm-f-2.8-zoom-lens

Next Issue

Signoff

That's it for now, but between issues visit our site for the latest news, reviews, or to have your questions answered in our free discussion forum. Here are the links to our most popular pages:

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Review Index: http://www.imaging-resource.com/camera-reviews
IR Photo Contest: http://www.dailydigitalphoto.com
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Happy snapping!
Dave Etchells & the IR Editorial Team

[email protected]
(Please use this email address for any questions or other correspondence; it's the only one we're checking these days for Newsletter-related reader emails.)