ONA releases new style bags and accessories for mirrorless users

Premium camera bag brand ONA has announced a set of new small bags and a wrist strap that are aimed at compact system camera users. The Bond Street is an upright bag designed to hold a single body and a couple of lenses, or three or four lenses while the camera is in use or on a strap. The bag has a large flap-over cover which is secured with a locking clasp, while the padded interior comes with a single adjustable divider. ONA offers the Bond Street in black or 'antique cognac' leather, or in a 'smoke' grey waxed canvas.

A second bag, called the Beacon, is shaped more like a tripod case, but features a pair of zip-up compartments for lenses, accessories or small cameras. Three dividers allow the bag to be converted from a single compartment to four, so a small tripod can be accommodated or four CSC-style lenses. The case has a carry handle as well as a removable shoulder strap, and is made from black ballistic nylon with leather trim.

The company is also to begin sales of a leather wrist strap called Kyoto, which it says is strong enough to support cameras up to 6lbs – though it has been tested to 10lbs. The underside of the strap, which ONA says is made from the same leather as is used for its bags, is suede-lined for comfort. The Kyoto comes in black, 'dark truffle, and 'antique cognac'.

The Bond Street bag is set to cost $219, while the Beacon will be $149. The Kyoto wrist strap will be priced at $49. All will be available from January 31st.

For more information see the ONA website.

Press information

The Leather Bond StreetCamera Bag and InsertSuggested Retail: $219

Handcrafted with full-grain leather and antique brass hardware, the Leather Bond Street is our most compact bag—for your camera, everyday essentials, or both. Designed specifically for mirrorless and instant cameras, the Bond Street adapts the style and function of our popular Bowery bag into a smaller silhouette that comfortably holds a camera and 1-2 lenses. The Bond Street features a closed-cell foam padded interior, a removable padded divider, and a zip pocket on back perfectly sized to fit your smartphone, batteries or other small goods. Like the Bowery, the Bond Street can also be stowed as an insert in a larger bag by detaching the strap.

Exterior Dimensions: 9"Hx7.5"Wx4.5"D I Weight: 1.7 lbs Colors: Antique Cognac (ONA5-064LBR), Black (ONA5-064LBL). Also available in Waxed Canvas: Smoke (ONA5-064GR)

The KyotoLeather Camera Wrist StrapSuggested Retail: $49

The Kyoto camera wrist strap is handcrafted from full-grain premium leather left over from the material used to make ONA's premium camera bags. Designed for the photographer who needs their camera at-hand without wanting a traditional strap, the Kyoto wrist strap is lined with suede, reinforced for strength, and padded for comfort. A steel key ring clasp and a leather scratch guard allow for compatibility with most cameras; the strap is intended for camera kits up to 6lbs and has been stress-tested to 10lbs.

Colors: Antique Cognac (ONA062LBR), Black (ONA062LBL), Dark Truffle (ONAO62LBL)

The BeaconLens CaseSuggested Retail; $149

The Beacon lens case is a first-of-its-kind, combining the silhouette of a vintage lens case with the function, style and flexibility of ONA's camera bags. The Beacon is designed to protect up to four lenses and small accessories, utilizing a close-cell foam interior and customizable padded dividers. For the photographer or creative who needs more flexibility, the Beacon can also hold select camera bodies, 360 and action cameras and small tripods. Highly durable and water-resistant, the Beacon is handcrafted from premium 1050D ballistic nylon and features full-grain leather accents and solid brass hardware. It features two large zippered openings, a small accessories pouch and a removable strap to protect your lenses in a suitcase or attached to a larger bag.Exterior Dimensions: 4"Wx18"Lx6"H (with handle) I Weight: 1.7 lbsColors: Black Nylon (ONA5-058NYL)

Source: ONA releases new style bags and accessories for mirrorless users

The ultimate adventure for photography buffs

The latest smartphone camera technology and push-button enhancements mean it's easier than ever to produce postcard-perfect travel images—and make any vacation look like the trip of a lifetime. But sometimes, you just want to feel the weight of a real camera in your hands and use it to document a place in a way you likely won't find in your Instagram feed. And that's exactly the purpose of the new destination workshops from Leica, the storied, German brand that's been making some of the best cameras out there since 1914.

What you will be doing is studying the art of visual storytelling, from approaching a stranger on the street for a picture to downloading, editing, and backing up your work while on the road.(Shutterstock/File)

The first of these trips, which are limited to 15 people and have a 1-to-5 student-to-instructor ratio, will take place in India during Diwali (Oct. 9-20), with stays in Jodhpur, Varanasi, and Delhi. The following month is Myanmar (Nov. 6-17), which stops in Yangon, Mandalay, Inle Lake, and Bagan.

Both amateur photographers and professionals are welcome—and you don't have to own a Leica or even have any interest in purchasing one (though you may be tempted, since each guest can request specific gear ahead of time to try out, including the new SL). As Tom A. Smith, the manager of Leica Akademie North America, puts it, "the person who will get the most out of these trips is someone who is ready to be challenged and taken out of their comfort zone. It's an amazing vacation, but one that's a learning experience—we won't be spending a lot of time by the pool."

(Read also: Leica introduces new mirrorless camera)

The Kyaiktiyo Pagoda in Myanmar.(Momenta Workshops via Bloomberg/Seth Butler)

What you will be doing is studying the art of visual storytelling, from approaching a stranger on the street for a picture to downloading, editing, and backing up your work while on the road.

"An emphasis is placed on capturing what you want with the camera, vs. relying on filters and software," says Smith. Lessons come courtesy of lead guides Craig Semetko, whose book India Unposed was born from three months of traveling through the country, and photographer Seth Butler, who has spent the past decade documenting Myanmar. Come night, you'll rest up in boutique hotels such as the iconic Claridges in Delhi and an eco-resort set on stilts in the middle of Inle Lake.

India via Craig Semetko's perspective in his photography book, India Unposed.(Craig Semetko via Bloomberg/File)

Local, Expert Relationships

To create the itineraries, Leica turned to Momenta, an organization that champions the work of photojournalists and leads seminars around the world—and has particular expertise in these two countries, having worked with local guides (who are also expert or hobbyist photographers) for many years. It is these relationships that help set Leica's Destinations getaways apart from other photo tours, especially when it comes to access to real cultural experiences.

"We found out about a novice monk induction ceremony the day before it happened, and we were able to get into it," says Jamie Rose, the chief operating officer of Momenta Group, of a recent workshop in Myanmar. "That's something nobody else would have had." And in India, Rose adds, they are seeking out more private aspects of Diwali—visiting people's homes and attending smaller events where guests can feel like they are truly part of the community.

(Read also: Mandapa in Ubud named Asia's best hotel)

Golden Hour on Inle Lake in Myanmar.(Momenta Workshops via Bloomberg/Jamie Rose)

Since photography is typically a solo pursuit, Leica built single rooms into the $6,995 price—travel companies usually upcharge for singles; here you get a $500 discount to share a room; the fee includes essentially everything except international airfare and alcohol. You'll also travel in small vans or cars instead of large tour buses, and you'll get more quality time in each location instead of checking a long list of sites off a bucket list.

According to Smith, the Destination workshops have been in the long-term plan for the North American market. The trips are a natural progression from Leica Akademie's successful Landscape series, which travels to National Parks around the U.S, and, more than anything else, sells the Leica lifestyle. Like putting on track races for Lamborghini fans, when you're hawking cameras ranging from the D-Lux (Typ 109) at $1,095 on the low end to the $34,500 Leica S Edition 100, you want to engage your loyal customers.

Sunrise over Myanmar's Bagan temples.(Momenta Workshops via Bloomberg/Seth Butler)

Eight new retail stores in U.S. cities, including L.A., Miami, New York, and Washington, D.C, are helping that customer base grow, too. "These have had a huge impact on awareness from the younger generation," says Smith, who credits the stores with attracting more 30- and 40-somethings to its programs, which typically skew 50-plus. Search Instagram under #leicacamerausa for a taste of what these burgeoning Leica devotees can do, and you could, too.

(Read also: Exploring Jordan's cultural fusion)

A boy and his elephant in India.(Craig Semetko via Bloomberg/File)

On the banks of the Ganges.(Craig Semetko via Bloomberg/File)

Source: The ultimate adventure for photography buffs

Sound advice: Advice on Fujifilm cameras

Question: About 10 years ago I purchased a Fujifilm F20 pocket camera based on your column's recommendation. I don't think I have seen you write about Fujifilm cameras since then.

Do you recommend their mirrorless cameras? I want to get a mirrorless camera to record my growing family's adventures.

Answer: Fujifilm X-series mirrorless cameras always have created very beautiful images, but typically had other limitations that limited their widespread appeal.

These cameras have a strong cult following, especially among traditionalists. The still picture quality rates among the best in the business, and many Fujifilm cameras and lenses have manual control dials with markings instead of buttons.

This "old school" experience with manual control dials extends to other areas where maybe it is not so welcome. The camera bodies do not offer image stabilization, and many of the best lenses do not have optical stabilization either. Unless you are using a tripod you will be shooting completely without stabilization with these lenses, just like a 1970s 35mm camera.

The system's lenses are phenomenally good. It's a bit of an open secret that Fuji is one of the world's finest lens manufacturers, and this has been true for decades.

The Achilles heel with past Fujifilm mirrorless cameras has been video quality. While still picture quality always has rated as an A to A+, video quality usually has been a D to an F. If you wanted to do some video with your still photography, a Fujifilm camera was usually left off the shopping list. The lack of competitive video was the primary reason I haven't been recommending them the past few years

This changed with last year's Fujifilm X-T2, a 24.3 megapixel APS-C camera using Fujifilm's X-Trans sensor. This sensor uses a unique pixel layout for better images than you would expect given the sensor size, images described as mimicking the look of film. Not only does the X-T2 record 4K video, it records great looking video that is competitive with its contemporaries.

An X-T2 body is quite expensive at $1,599, making it a tool for professionals and serious amateurs. The great news for everyone else is Fujifilm recently introduced the X-T20, which uses the same sensor and delivers almost all of the X-T2's goodness for only $899.

Source: Sound advice: Advice on Fujifilm cameras

The Canon EOS M5 reviewed from a C300 user perspective – by Jon Roemer

The EOS M5 is Canon's newest mirrorless camera. It sports a 24MP APS-C CMOS sensor, an OLED electronic viewfinder, and a tilting rear touchscreen. It has a small stable of lenses dedicated to it, Canon's EF-M line, but you can also mount any Canon EF or EF-S lens through the use of Canon's EF-EOS M Mount Adapter.

The EOS M5. Photo by Jon Roemer.

The lens adaptability of the M5 caught my eye, but so did many of its other features. It is small and compact, with the same sensor as the EOS 80D and it has Canon's incredible Dual-Pixel autofocusing. The video on it caps out at 1080/60P, but the camera offers the same video settings and customization as most of Canon's mid-range DSLRs. This includes control over the picture profile and sharpness, contrast, tone, and saturation (although there is no Log gamma). This puts the M5 a notch above all of Canon's point and shoot cameras (but not as highly specified on paper as rival cameras like the Sony a6500). With the M5 you are getting the best of Canon's 1080P video in an interchangeable body the size of one of Canon's larger PowerShot cameras.

Canon EOS M5 and the EOS 5DS R side by side. Photos by Jon Roemer.

My hopes for the M5 are that it could potentially be used for b-roll video, flying under radar because of its small size, as part of an extremely small and lightweight kit, or as part of a small gimbal setup. I also hope it will fill a niche as a stills camera for personal use; small enough to have around all the time and good enough that its images do not feel like a compromise.

M5 Video

I really like the video on the M5. Yes, it's 1080p in a 4K world, but all of my client deliverables are still 1080P. The 1080P on it is also very good. That's important to note because there are several mirrorless cameras which shoot 4K well, but give short shrift to 1080. There are also cameras which shoot 4K internally to SD cards but they often seem to give something up in the process to make it happen. The 4K data rate, or the bit depth, or both get lowered and the resulting 4K is functional but not stellar.

Here's a comparison between the M5, the Canon 1DX Mark II in both 1080P native and 4K in a 1080 timeline, along with a Canon C300 shooting Wide DR and C-log.

In the beginning of the video you'll see about 5 seconds of each sample, a split screen comparison of all of them, and then the same with some post-production tweaks as noted.

The same lens was used for each camera, a Canon EF 24m f/1.4L II. The 1DX Mark II 1080 native clip has a wider field of view because that camera shoots full-frame 35mm in 1080P (less the crop top and bottom for the 16:9 format).

The M5 and the 1DX Mark II were set to Camera Profile: Neutral with Sharpness all the way down, and Contrast at -4.

Looking at the test the C300 clearly wins on dynamic range and resolution. That is as expected but the M5's 1080 surprises by beating the 1DX Mark II's native 1080P by a lot. The 1DX Mark II's 1080 is soft and mushy by comparison and you really need to shoot 4K and then downscale in post to get better HD from the camera. The M5 also easily beats the 1080 found in Canon's point-and-shoots like the G3 X, not seen in the test above. I owned one for a while in 2015/2016 ( Caesar Gets a Canon G3 X and Niagara). Similar in size but with a smaller, 1″ chip, the G3 X is great for what it is but it can't compete with the M5's overall image quality or its feature set.

It's interesting to see the aliasing on the cabinet in the lower right of the frame. It's present in the original M5 and C300 footage, but barely noticeable. Exporting it to a compressed file and then it getting recompressed by Vimeo's codec has increased it significantly. The 1DX Mark II's 4K clip is the only one where the aliasing was not present from the start.

As a video camera the M5 is a lot of fun to use. I picked one up in mid-December along with a couple of EF-M lenses and Canon's EF-EOS M Mount Adapter. I didn't have a project lined up for testing the camera but over the holidays I did the next best thing. I subjected my extended family to it, using it to document the twenty-four hours everyone was together over Christmas.

The Game of Life was shot on M5 handheld with two Canon EF-M lenses, the 22mm f/2 STM and the 15-45mm f/3.5-6.3 IS STM. It is all shot with available light. The M5 was set to Camera Profile Neutral, Sharpness at 0, Contrast at -4, and Saturation and Color Tone at 0.

Dual-Pixel autofocus was used exclusively and I controlled it via the camera's touchscreen. In some cases I used the Smooth Zone AF setting, in others the Face Detection + Tracking mode. The former focuses within a designated zone, the latter can ID and track a face or track a point you select.

The EF-M 22mm f/2 STM lens is a tiny pancake lens. The EF-M 15-45mm f/3.5-6.3 IS STM is slightly larger, plastic barrelled, kit lens sold with the M5. It has lens based optical image stabilization as its name indicates.

The Canon EF-M 22mm f/2 STM, the EF-EOS M Mount Adapter, and the EF-M 15-45mm f/3.5-6.3 IS STM. The EF 24-70mm f/2.8L II is in the background. Photo by Jon Roemer.

The M5 has its own in-body image stabilization which is software based and works only when the camera is in video mode. There are three settings: Disabled (off), Enabled, and Enhanced. Like NLE based image stabilization it averages out the framing during a clip and smooths the footage by eliminating the excess. This means the image is cropped a bit and then enlarged to refill the frame. In the process the image loses some sharpness.

Enabled IS in the M5 works sufficiently well but it's not significantly different from stabilization added in post. The benefit of adding stabilization in post versus software based stabilization in-camera is that it allows you to finesse the settings to your taste. It's a level of control not possible in the camera.

I do not recommend using the M5's stronger image stabilization mode, Enhanced IS. It crops in significantly and softens the image too much. So much so that you cannot recover the lost sharpness in post.

Given the lack of control in the M5's image stabilization and given that I would be doing post production on the clips in the film, I opted to leave the M5's IS turned off. I used the software based stabilization in my NLE instead. That said, any clips in the film shot with the EF-M 15-45mm lens take advantage of its optical stabilization. Some of the clips shot in the film were stabilized in post in FCP X.

Software based stabilization, in the camera or in a NLE, should not be confused with physical ways of stabilizing a camera's image. These include lens based optical stabilization, in-body image stabilization, and external devices such as gimbals or Steadicams. They will always be better than software based applications.

Audio was recorded with the camera's built-in stereo microphones set to Auto. The M5 has Wind Filter and Attenuator settings. They were on Auto as well. I did clean up the audio a little in post, editing out a couple of stronger wind issues and running most of the audio through Izotope's RX 5 De-noise or Dialogue De-noise plugins.

Overall, I would describe my grading work on The Game of Life as light. The color is out of the camera for the most part. Outside I shot with the M5 set to Daylight White Balance. Inside was a mix of Daylight and Auto WB. I used no power windows. I lifted the shadows some on the clips shot inside and I lowered them, as needed, on the clips shot outside. No sharpening was added in post.

Here's a second version of the film showing the settings for each clip: the lens, the ISO, the shutter speed and aperture, the AF mode, and if NLE based image stabilization was used.

The M5, like the Canon 1DX Mark II, has great color right out of the camera. The 1080P resolution on it is very good, exceeding that of the native 1080P on the 1DX Mark II. One negative with the M5 is that clipped highlights can look harsh. There is no highlight headroom at all. But at the same time gradients, like in areas of the sky, are well controlled and show no banding in the original footage.

Shadow recovery looks to be about ⅔ of a stop before noise kicks in. Of the two EF-M lenses I tried, the 15-45mm f/3.5-6.3 IS STM lens focuses quickly and silently. The 22mm f/2 STM is noisy and noticeably slower when racking or tracking focus.

I do not own any smaller ND filters or a step-down ring to fit either of my two EF-M lenses. They have filter threads of 49mm and 43mm. I rode the aperture when filming to keep the shutter at 1/50 for the exterior shots. Despite those clips being at f/8 – f/14 they hold up well and the lens does not appear to be losing too much sharpness to diffraction.

Where does the M5 fit within Canon's line up and what about in relation to other manufacturers? Most will agree that the M5 brings Canon up to speed in mirrorless with a body which should have been available from the start of their M series line. Other than not having 4K and not having the in-body Image Stabilization found on some Sony cameras and the future Panasonic GH5, it is a very capable camera.

For me it's a great fit. I already own a 1DX Mark II which shoots stellar 4K. I also own Canon C300s and they see the most use on my commercial video projects. As I mentioned up top, 4K is not quite on the radar for my client deliverables which I produce, shoot, and edit. For projects where I am handing off footage straight from the camera there is a small need for 4K but I can handle it with my 1DX Mark II or rent a C300 Mark II.

Using touch focus AF on the EOS M5.

I envision the M5 living on a gimbal like a Pilotfly H2 during a shoot where I am already using my other bodies as A and B cameras. The M5 can be grabbed and with little effort some b-roll created. That b-roll will fit in my workflow seamlessly because the M5, the 1DX Mark II, and the C300 are all in the same Canon color family. Also, as mentioned, my Canon lenses can live happily on any of those bodies.

I have worked on projects as a cameraman and a DP where Sony a7 series bodies were used and to me that often becomes a bit of a kludge. More often than not an external recorder is needed and it, with its batteries, and the HDMI cable all become points of failure. I don't say "potential points of failure" because I have seen them all fail. Similarly, my experience with third-party lens adapters like the Metabones has been mixed. Sometimes they play nice, sometimes not and firmware issues crop up.

I really like cameras and systems which do not need external recorders. I try to avoid third-party lens adapters. On my projects, which tend to be small footprint, limiting all of those factors helps in getting the equipment out of the way so that I can concentrate on the production.

I don't see the GH4 or the future GH5 as options for me. I'd rather stay with APS-C or larger sensors. Nothing that those cameras or the Sonys offer make it worth running multiple brands on my projects. I'd rather not have the color differences and I like having the similar menu layouts which I get when staying within one brand. It should be noted, too, that with my setup I am getting a similar field of view with each camera I use. The APS-C of the M5, the 1.4x crop of the 1DX Mark II shooting 4K, and the Super35 of my C300s all match up nicely. It is not exact, but they are all extremely close and much more so than adding a full-frame 35mm body or a micro four-thirds body to my kit.

In-body image stabilisation would be a nice addition to the Canon M series line, but not even IBIS is perfect. I suspect that it might make my personal work a little easier. The Game of Life has some clips which could have benefited from IBIS. But on client jobs a gimbal would be the only way to be sure of getting good enough and consistent enough image stabilization regardless of IBIS or the M5's software based IS.

One thing I do admit to is being jealous of Zeiss' E-mount lens lines for the Sony cameras. It would be nice to see some of those in Canon's EF-M mount. In the same vein, it would be nice to see Canon beef up the EF-M lens line up by adding more fast primes and optimizing them for video. I really like the EF-M 22mm f/2 STM but why it's noisier and it focuses slower than the cheaper 15-45mm kit lens baffles me.

M5 Stills

Canon EOS M5. EF-M 22mm f/2 STM lens. ISO 1600, f/2 @ 1/80 sec. Photo by Jon Roemer.

I am very happy with the M5's stills. There's almost nothing to say which in itself says a lot. You are not getting close to or the equivalent of anything, you are getting Canon's latest APS-C sensor and its newest processor, the Digic 7.

Compared to a point and shoot camera the M5 is incredible. Image quality is superb and low-light focus is great. One reason I sold my Canon G3 X was its poor low-light autofocus.

Canon EOS M5. EF-M 22mm f/2 STM lens. ISO 8000, f/2 @ 1/50 sec. Photo by Jon Roemer.

Compared to a pro level DSLR the M5 is more fiddly in terms of use. There are dedicated dials for aperture and shutter. There is also a quick dial which can bounce between ISO, white balance and aperture. All great, but in shrinking things down to the M5's size the distances between those dials gets compressed. If you are used to working with a 5D or 1D series camera it feels less natural. You can control all of the M5's settings via the camera's touchscreen as well. That interface is so well implemented that odds are it will be your go to point when interacting with the camera.

One nice feature Canon has added with the M5 is that you can continue to use the touchscreen to control the area of focus even if you are using the camera's EVF. In practice it's quite effective.

Canon EOS M5. 15-45mm f/3.5-6.3 IS STM lens. 15mm, ISO 400, f/4 @ 1/40 sec. Photo by Jon Roemer.

I wouldn't use the M5 on a professional stills assignment. I prefer a bigger body, optical viewfinder, larger image buffer, and the ability to shoot tethered with Capture One. But as a personal use stills camera the M5 is just about perfect. It's almost pocket-sized, it's able to use the very small EF-M lenses or any other Canon lens I own, but most importantly it does not compromise on still image quality at all.

Canon EOS M5. 22mm f/2 STM lens. ISO 1000, f/4 @ 1/50 sec. Photo by Jon Roemer.

The EF-M 22mm f/2 STM lens is great for stills. It is fast and it matches the classic full-frame 35mm lens field of view for street photography. The 15-45mm f3.5-6.3 IS STM kit lens is the equivalent of a 24-70mm lens. It is soft in the corners wide open and it needs to be closed down another stop or two to bring those corners in line. This is less of an issue with video where the 16:9 crop eliminates the outer corners. Zoomed to 45mm the f/6.3 maximum aperture can create issues focusing in low light, as would happen with any f/6.3 lens. If the EF-M lens line's performance/price ratio doesn't meet your needs you can always use the Canon adapter with an EF-S or EF lens.

In video mode the M5 gives me what I loved about the Canon G3 X, a tiny camera with a tilting screen which can fly under the radar of the general public. I wish it had the G3 X's weather sealing but that's not a deal breaker. The M5 adds so much more: Dual-Pixel autofocus, a versatile touchscreen, interchangeable lenses, DSLR level image quality, and most importantly great 1080P. The M5, as a video camera, will probably find use in my kit when the project calls for it. I look forward to taking the next step and trying it out on a small gimbal.

This is an edited version of the article which first appeared on Jon's own website.

Source: The Canon EOS M5 reviewed from a C300 user perspective – by Jon Roemer

lens speed

G Lindzey , Jan 27, 2017; 12:52 a.m.

I have always tended to buy the fastest lenses I could (given avaiabiity and affordability) for a given focal length and camera. This was partially based on the ease of focusing a 35mm SLR film camera with a fast lens over a slow lens.I am currently thinking of moving to a mirrorless system camera (specifically the fuji x-t2) and I started wondering if the electronic viewfinder was brighter with faster lenses or if the electronics compensated for slower lenses so that the image remained the same brightness. Does anyone know if there is a difference in brightness in the evf for different speed lenses?

thanks

Leszek Vogt , Jan 27, 2017; 01:33 a.m.

Come to think of it, I never noticed any difference between F1.4, 1.8, 2.8 and even higher. If I judge it by Large Format, and ground glass has to be taken into account, anything lower (numbers) than F8 is fine, tho F12 would be somewhat problematic.

Les

Don Bright , Jan 27, 2017; 03:10 a.m.

This would depend on two modes. 1. In screen mode, Preview EXP./WB IN MANUAL MODE EXP/WB PREVIEW EXP.WB: ON OR OFF. Set to on.2. Also on the shutter speed dial if in manual mode, I like too go to X on the dial, then use the front command dial in 3rd stops, you can visualize the screen darkening or lightening in this mode, therefore: If for a test sake you set a shutter speed with a f4 lens open at f4, then replaced that lens with a 1.2 lens open to f1.2, keeping the same shutter speed, you would indeed see a brighter screen because of the faster lens variant.

Source: lens speed

Nauticam Announces Housing for Olympus OM-D E-M1 Mark II

Nauticam has unveiled their new housing for the OM-D E-M1 Mark II, Olympus' top-of-the-range Micro Four Thirds mirrorless camera, which packs a 20-megapixel sensor, sports in-body 5-axis image stabilization, shoots 18fps in RAW with autofocus, and records DCI 4K video at 24p.

Aiming to get the most out of Olympus' flagship camera, the NA-EM1II boasts the latest features developed for Nauticam's top housings. As ever, special attention has been paid to ergonomics, with the shutter release, AE-L/AF-L lever, and control dials conveniently positioned around the integrated handles. The housing comes with dual fiber-optic ports for optical TTL strobe triggering at 2–3fps via the included Olympus FL-LM3 flash, and triggering up 10fps can be achieved with Nauticam's optional Mini Flash Trigger.

The housing is compatible with an extensive lineup of lens ports, viewfinders, and wet lenses such as the WWL-1 Wet Wide Lens and CMC-1 Compact Macro Converter.

The NA-EM1II is available now for an MSRP of $1900. 

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

PRESS RELEASE

Introducing the Nauticam NA-EM1IINauticam NA-EM1II for the Olympus OM-D E-M1 Mark II

The Ultimate OM-D!

Compared to the previous E-M1, and all other Olympus Micro Four Thirds cameras, the E-M1 II is an improvement in every way.  The new 20MP Live MOS sensor provides a useful bump in resolution.  Dual quad core processors combine to allow 60 fps burst shooting (18 fps with autofocus).  An incredibly advanced autofocus system (121 focus points covering 75-80% of the frame) grabs subjects instantly without hunting, and doesn't let go when tracking.

It takes more than just headline grabbing specs on paper to make a great underwater camera system, and the E-M1 Mark II does many of the less obvious things right.  The "2x2" dial and button structure doubles the functionality of the camera's control dials and assignable push buttons. Typically these dials control shutter speed and aperture when shooting in manual mode. The 2x2 lever allows quick adjustment of other parameters (like ISO and Exposure Compensation, as an example) via the command dials in the most ergonomic way possible.

It seems to be a trend among camera makers to sacrifice battery life and handling in an effort to to reduce overall size.  Olympus didn't make this mistake with E-M1 II. Its large hand grip provides exceptional handling, even with larger lenses, and makes space to accommodate a large battery that offers an exceptional 440 shots per charge (based on the CIPA rating, and many more are likely in real world use).

Also new, and notable, is a high bitrate UHD (4K) video recording mode coupled with very capable image stabilization. The camera offers HDMI output to an external monitor, providing an upgraded display for framing, exposure check, and focus confirmation.

The NA-EM1II Housing

A camera of this caliber deserves an exceptional underwater housing.  Five and a half years ago, Nauticam entered the Micro Four Thirds underwater housing segment.  17 housing models later, Nauticam is proud to have produced more mirrorless underwater camera housings than any other manufacturer. The Nauticam NA-EM1II isn't a new design, it is a refinement of the housings that have come previously.  The system is field tested, and underwater photographer approved.

The housing is small, but not at the expense of functionality or ergonomics.  Integrated handles provide a sturdy and comfortable base to operate the system from.  An ergonomic shutter release lever, thumb lever for AE-L / AF-L, and well placed control dials provide the same operational feel as any Nauticam DSLR housing.  Control buttons are placed within easy reach of the handles, allowing for easy operation, even by feel.

More than just good looking, this is a rugged housing, ready to tackle thousands of hours of underwater abuse. Crafted from solid aircraft aluminum, the housing can reach depths of 100m with ease. The secure single rotating housing latch opens the housing back. The camera drops in easily. The rear mounted housing o-ring makes maintenance simple. Dual fiber optic synch ports are standard and take advantage of the camera included FL-LM3 flash for strobe triggering. To make the most of the E-M1 Mark II's excellent electronic view finder (EVF), Nauticam allows for installation of the acclaimed 45º and 180º magnified viewfinders, providing the ultimate in composition and focus ability.   

The NA-EM1II is a professional grade underwater housing, supporting the pro-level E-M1 II camera body to its full potential.

Key Features

Integrated Vacuum Monitoring and Leak Detection

Circuitry included as standard equipment provides constant monitoring of water tight integrity when combined with an optional Nauticam M14 Vacuum Valve (PN 25624). Green means safe to dive!

Port Locking Lever

The iconic Nauticam port locking lever allows effortless port changes.  No twisting required, just press and lock.

This is a patented Nauticam feature, found on no other housing, providing unmatched ease of use!

Extensive Accessory Lineup

The range of Nauticam accessories is unmatched, with multiple accessories available to customize the system to individual needs.  A variety of lens ports support all popular lenses.  Accessory lenses, like the revolutionary Compact Macro Converter (PN 81301) and Wet Wide Lens (PN 83201), attached with an easy to use bayonet system.

Locking Mounting Tray

A cam lever system securely locks the camera in place, providing strength and precise positioning even when a heavy lens is mounted.

Integrated Handles with Stainless Steel Support Brackets

Rubberized handles and oversized controls are easy to operate even when wearing thick cold water gloves.

Stiffening handle brackets are included with the housing, providing a solid "wobble free" attachment base to shoot from, even with heavy lighting systems.  Multiple lanyard attachment points are included in the brackets.

Rubberized Zoom/Focus Knob

A large, rubberized zoom and focus control knob provides easy lens control with excellent tactile feel.

The knob disengages, providing more working space for quick lens changes.

Port Mounted Vacuum Reset Button

A blue push button in the port mount allows the vacuum system to be reset, and recalibrate when changing lenses! 

Micro Four Thirds Lens Bonanza!

It's all about the glass, and lenses are the key to terrific photography.  This has always been a strength of Olympus systems, and the lineup is now stronger than ever thanks to the Nauticam Wet Wide Lens (WWL-1).

WWL-1, paired with an Olympus 14-42mm f/3.5-5.6 EZ Lens or ED 12-50mm F3.5-6.3 EZ*, provides a full zoom through ultra wide angle field of view.  In our tests, this combination exceeds the corner sharpness and clarity of even very good micro four thirds wide angle lenses behind dome ports.  The WWL-1 will focus on its front element for unmatched close focus side angle performance, and full zoom through means you can zoom to crop in camera for tighter framing.

WWL-1 is mounted via a quick change bayonet system (67mm PN 83213 or 77mm PN 83216) that allows fast and easy one handed mounting and removal.  An optional lens caddy provides a place to park the WWL-1 lens when not in use.

For closeup and macro work, the Nauticam Compact Macro Converter (CMC-1, PN 81301) allows images smaller than 1" wide to be captured.  Ultra wide, mid-range and macro imaging capability, all on the same dive!

The m4/3 system supports a large range of high quality lenses produced by Olympus and Panasonic (partnering with Leica), and third party lenses from Sigma are starting to appear. Several lenses that perform extremely well underwater are available (and reasonably priced!).

Some examples:

Olympus M.ZUIKO DIGITAL ED 12-50mm F3.5-6.3 EZ: The ultimate jack of all trades tool, this lens covers a very usable mid range, and features a unique macro mode. Shoot dolphins and nudibranchs on the same dive!

Panasonic Lumix G Fisheye 8mm/F3.5: This 180º fisheye lens focuses close and is razor sharp. Combines with a small port, there is no better CFWA (close focus wide angle) option on the planet.

Olympus M.ZUIKO DIGITAL ED 60mm f/2.8 Macro: This is an ideal macro lens for m4/3, and by adding the Nauticam CMC, it becomes a super macro monster. Imagine filling the entire width of the frame with something only 8mm wide!

Panasonic Lumix G Vario 7-14mm f/4.0 ASPH: The 7-14mm is a rectilinear lens, ideal for shooting people or sharks or wrecks... subjects where the fisheye distortion is not welcome. On the wide end, this lens 114º wide, ideal for getting close to subjects to reduce the amount of water shot through. But a zoom gets to 75º - ideal for reaching out to that subject that is a little more skittish.

The very similar Olympus M.Zuiko Digital ED 9-18mm f/4.0-5.6 can serve the same basic role at a lower cost.

M.ZUIKO DIGITAL ED 8mm 1:1.8 PRO and M.ZUIKO DIGITAL ED 7‑14mm 1:2.8 PRO provide upgraded performance with faster maximum aperture, and are fully supported by the Nauticam port system.

There are many more options for the underwater photographer, including any of the several 14-42mm options:

Panasonic Lumix G X VARIO 12-35mm F2.8 ASPH. POWER O.I.S.

Olympus M.ZUIKO DIGITAL ED 12-40mm f/2.8 PRO

Panasonic Lumix G Vario 12-32mm f/3.5-5.6 ASPH

Panasonic Lumix G 14mm F2.5 ASPH

Leica DG Macro Elmarit 45mm F2.8 ASPH

*12-50 is usable with WWL-1 from approximately 15.5mm - 50mm with WWL-1.

Viewfinder Options

A clear view for fine focus and composition is critical for successful underwater photography, and nothing beats a magnifying viewfinder.  These viewfinders use distance, not closeup vision, and provide a large, clear view of the high resolution Olympus electronic viewfinder.  Available in angled 45º  (PN 32205) and Straight (PN 32204) formats, both viewfinders have external dioptric adjustments for dialing in perfect correction matched to the photographer's eyesight.

45º and 180º Magnifying Viewfinders provide a large, clear, corner-corner view of the Olympus 2.36 mdot LCD Electronic Viewfinder.

Integrated Vacuum Check and Leak Detection System

The Nauticam vacuum check and leak detection system is available with NA-EM1II as standard equipment.  Combined with an optional vacuum valve (PN 25624), this monitoring system provides constant updates on the water tight and safe-to-dive status of the housing.  A simple coded LED lighting system lets the user know that the vacuum is solid, or that the housing is losing vacuum. Leak detection is built into the same circuit, so if there is water intrusion, an audible and visual indication will occur.

Flash Connectors for Optical TTL

Reliable automatic flash exposure is available with the NA-EM1II and a variety of optically fired flashes. The Inon Z-240, D-2000, S-2000, and Sea & Sea YS-D1 strobes provide automated lighting, precisely reproducing the camera's FL-LM3 flash at a proportionally greater intensity.  This system yields accurate automatic TTL flash performance – even in manual mode - with no electrical sync cables to flood! The NA-EM1II comes fiber optic ready and accepts standard Sea & Sea style bushing connections. Nauticam Fiber Optic cables, available for both Inon and Sea & Sea strobes, provide exceptional light transmission for accurate TTL performance.

Rapid Fire Optical Triggering

The E-M1 Mark II camera with FL-LM3 flash is limited to 2-3 fps continuous shooting, even when a low manual power is selected in the camera flash menu.  In situations where continuous optical shooting is required, Nauticam's Mini Flash Trigger (26306) can trigger external strobes over fiber optic at up to 10 frames per second!  The triggers is powered by on-board coin style lithium batteries, with thousands of flashes available from a set.

Electrical triggering of legacy wired strobe systems is possible via an electrical Nikonos style bulkhead (optional)

Strobes can be attached to the housing via included strobe mounting balls secured to the integrated handle system. A 10mm threaded accessory mounting location on the housing is the ideal position for a video light or monitor, a cold shoe mount is perfectly placed for a small focusing light.

Recommended Accessories

WWL-1, 83201

CMC-1, 81301

CMC-2, 81302

Mini Flash Trigger for Olympus (26306)

M14 Nikonos 5-pin bulkhead with universal hotshoe connection (25056) (25019 M16 to M14 step down adaptor required)

M67 to Bayonet Mount Converter, 83213

180º Enhancing Viewfinder for MIL Housings(32204)

45º Enhancing Viewfinder for MIL Housings (32205)

M14 Vacuum Valve (25624)

Complete line of flat/dome ports for all major lenses, available in acrylic and glass

Fiber optic cables for Inon (26211) and Sea&Sea (26212)

Full line of mounting accessories for lighting, including mount balls, strobe adapters, arms, clamps, and specialty items

Multiple styles of lanyards

Lens holders, including flip-up

Details and Specifications

Depth Rating: 100mWeight: 1.95 kgDimensions: 305mm x 175mm x 116mm W x H x D (w/ handles and mounting balls)

Model Number: 17811USA Retail Price: $1900Available Now!

More information is available from Nauticam at: www.nauticam.com

 

Source: Nauticam Announces Housing for Olympus OM-D E-M1 Mark II

Special - Sony A7S Mirrorless Digital Camera with 2x Free Wasabi Batteries

Only limited stock in NZ. NZ supplied and warranty covered by Sony NZ.Great camera for small video production companies as B cam or any indi filmmakers.

Features:

- 12.2MP Full-Frame Exmor CMOS Sensor- BIONZ X Image Processor- Gapless On-Chip Lens Design- 3.0" 921.6k-Dot Tilting LCD Monitor- XGA 2.36M-Dot OLED Electronic Viewfinder- Full HD Recording in XAVC S- 4:2:2 UHD 4K Output via HDMI- Full Pixel Read-Out, S-Log2 Gamma- Expandable Sensitivity: ISO 50-409600- Fast Intelligent 25-Point AF System

* At Photogear, we provide you with top quality photographic and videographic products and solutions at the most competitive prices.

We stock a wide range of camera gears including cameras & lenses, camera bags, camera tripods & video tripods, tripod heads, filters, flashes or LED lightings & light stands, softboxes, video equipment, DSLR Rigs, background papers and much more.

For more photography equipments, visit our Trademe store: www.trademe.co.nz/ stores/photogear Please read the questions and answers for this listing.

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Source: Special - Sony A7S Mirrorless Digital Camera with 2x Free Wasabi Batteries

Metabones launches four new adapters for attaching Canon lenses to Sony E-mount cameras

Lens adapter manufacturer Metabones has announced it's to release four new models that will improve the experience of those mounting Canon EF fit lenses on to Sony E camera bodies. Two of the adapters, the Canon EF-E mount T CINE Speed Booster ULTRA and the Canon EF-E mount T CINE Smart Adapter, are aimed specifically at those who want to use EF lenses on Sony motion picture cameras, such as the PXW-FS7 II.

The other two models, Canon EF-E mount T Speed Booster ULTRA II and Canon EF-E mount T Smart Adapter, are more general purpose and will suit stills photographers as well as those using A7 bodies for video. The Cine models feature a 'positive-lock' that users can turn to add extra security to the connection between the lens and the adapter while a similar lock on Sony's FS7 II does the same for the connection between the adapter and the camera.

Each of the new adapters will feature a rubber gasket to protect the join between adapter and lens from the ingress of moisture and dust, and a new LED keeps users informed of what modes are operational. A switch on the adapter can be used to control in-body stabilization modes when used with a camera that offers the feature.

Autofocus in contrast detection mode is supported by all four adapters, as is aperture control from the body, smooth aperture control in certain modern lenses and auto magnification in manual focus mode when used with a lens that provides distance information.

The two Cine adapters will be available in February, but no on-sale date has been announced for the Canon EF-E mount T Speed Booster ULTRA II and Canon EF-E mount T Smart Adapter.

For more information see the Metabones website.

Product Specification and pricing

Canon EF-E mount T CINE Speed Booster ULTRA (MB_SPEF-E-BT3)Dimension / Weight (H:91cm W:88cm D:26.5cm / 242g), Suggested Retail Price USD699

Canon EF-E mount T CINE Smart Adapter (MB_EF-E-BT6)Dimension / Weight (H:91cm W:88cm D:31cm / 207g), Suggested Retail Price USD449

Canon EF-E mount T Speed Booster ULTRA II (model number MB_SPEF-E-BT3)Dimension / Weight (TBD), Suggested Retail Price TBD

Canon EF-E mount T Smart Adapter (MB_EF-E-BT5)Dimension / Weight (TBD), Suggested Retail Price TBD

Press release

They are EF to E CINE Smart Adapter™, EF to E CINE Speed Booster ULTRA, EF to E Smart Adapter V and EF to E Speed Booster ULTRA II.

The headline feature of EF to E CINE Smart Adapter and EF to E CINE Speed Booster ULTRA is a positive-lock EF lens mount carried over from the critically acclaimed Metabones EF-FZ CINE Smart Adapter, a perfect companion to the positive-lock mount of the new Sony FS7 Mark II camera.

All 4 new products are equipped with a rubber gasket to protect the E-mount connection from dust and moisture. To promote ease-of-use, an LED indicates the adapter's operation mode, optical image stabilization operation and communication status. A dedicated switch controls in-body image stabilization (IBIS) on Sony cameras equipped with SteadyShot INSIDE.

EF to E CINE Speed Booster ULTRA and EF to E Speed Booster ULTRA II feature the same world-renowned Speed Booster ULTRA optics by Caldwell Photographic and WB Designs that make lenses brighter, wider an d sharper.

Metabones recounts the beginnings of the world's first fully electronic EF to E mount adapter 5 years ago, with only aperture control and auto-magnify (requires lens with distance information) but no autofocus support back then. Over the years firmware work has significantly expanded its capabilities. Today, the very same original Smart Adapter, though long discontinued, can still be upgraded to leverage the latest firmware benefits such as smooth iris (lens support required), fast contrast detection autofocus on all E-mount cameras, eye-AF, direct manual focus (DMF), zoom and distance display (requires lens with distance information), assignable custom button and 5-axis image stabilization (requires camera support).

Since the advent of the original EF to E Smart Adapter 5 years ago, Metabones has assumed a pivotal role in the mirrorless revolution. Cinematographers and photographers all over the world are armed with unprecedented flexibility of lens and camer a choice.EF to E CINE Smart Adapter will be available in February 2017 for USD 449 plus applicable taxes, duties and shipping, and EF to E CINE Speed Booster ULTRA will be offered at the same time for USD 699 plus applicable taxes, duties and shipping. Availability and pricing of EF to E Smart Adapter V and EF to E Speed Booster ULTRA II are to be determined.

New key features

· CINE models feature a new positive-lock EF lens mount. (Patent pending)

· Rubber gasket protects E-mount connection from dust and moisture.

· Compatible with Sony FS7 Mark II camera

· Status notification LED light

· Dedicated switch controls in-body image stabilization (IBIS)

Electronic features

· Fast contrast-detect AF on all E-mount cameras.

· Phase-detect autofocus support on A7RII, A7II, A6300 and A6500.

· Smooth iris support with the latest Canon (2009+), Tamron (SP series 2013+) and Sigma (2016+) lenses

· Supports 5-axis in-body image stabilization of A7II, A7RII and A7SII. (Distance information from lens required; 3-axis IBIS if lens does not transmit distance information.)

· Powered by camera body. No external power source required.

· Aperture control from camera body.

· Custom function button assignable to more than 50 functions on A7 series and A6300/A6500.

· High performance 32-bit processor and efficient switched-mode power supply.

· Supports image stabilization (IS) lenses.

· Supports electronic manual focusing (e.g. EF 85/1.2L II and discontinued EF 50/1.0L)

· EXIF support (focal length, aperture, zoom range)

· Distance and zoom display on VG and FS series camcorders, A7 series and A6300/A6500 (lens with distance information support required).

· Auto magnify (lens with distance information support required)

· Auto "APS-C Size Capture" on full-frame cameras.

Optical (Speed Booster models only*) /Mechanical Features

· Increase maximum aperture by 1 stop.*

· Increase MTF.*

· Makes lens 0.71x wider.*

· Advanced 5-element/4-group optical design incorporating ultra-high index tantalum-based optical glass by Caldwell Photographic in the USA (patent).*

· Felt material flocked inside the opening to reduce internal reflection.

· The tripod foot is detachable and compatible with Arca Swiss, Markins, and Photo Clam ball heads.

Source: Metabones launches four new adapters for attaching Canon lenses to Sony E-mount cameras

Canon EOS M5 review

The EOS M5 made waves in the photo industry when it was announced last fall. It was a ray of light for enthusiasts and Canon fans who had long hoped for a serious mirrorless offering from the company. Unlike earlier EOS M cameras, the M5 doesn't skimp on tech, using the same 24MP APS-C sensor and dual-pixel autofocus system from the acclaimed EOS 80D DSLR.

For everything it brings to the table, the M5 unfortunately still lags behind mirrorless cameras from other manufacturers in some respects, namely video. Both Sony and Panasonic offer 4K resolution at similar price points, and even Fujifilm and Olympus have implemented the feature in their top-end cameras. For a company with so much professional video experience, it would have been nice to see Canon put more leading edge filmmaking tech into its flagship mirrorless camera, although we can't say we're surprised by the decision: the higher-priced 80D also lacks 4K.

More: Sony a6300 review

While not particular to the M5, Canon's limited lineup of EOS EF-M lenses is another weak point. As such, the EOS M system remains most attractive to Canon DSLR shooters looking for a smaller camera that's still compatible with their existing lenses (via the EOS EF-M Mount adapter). If the M5 signals a renewed focus on mirrorless for Canon, then hopefully new lenses are on the way. We hope this proves to be true, as the M5 is a solid camera and one that deserves a better selection of quality glass to put on it.

Design and usability

The most immediate difference between the M5 and its predecessors is the electronic viewfinder "hump." Like the Olympus OM-D series, the EVF is situated directly above the lens, lending the camera the appearance of a small DSLR. In general, we prefer this setup to the far-left-mounted EVF of the Sony A6000 series, but the M5's compact design means the shooting position will be a bit awkward for left eye shooters.

Daven Mathies/Digital Trends

Daven Mathies/Digital Trends

A built-in EVF is definitely a welcome addition (its M3 predecessor requires an optional EVF that slides into the hot shoe), but we do wish it was a bit larger. Its 2.36-million-dot resolution looks good on paper, but real-world performance leaves a little to be desired. Luckily, the 1.62-million-dot articulating LCD looks great. Both color accuracy and sharpness appear better on the LCD compared to the EVF.

The screen can tilt up by nearly 90 degrees and can flip downward a full 180 degrees for easy selfie framing, so there's also that.

More: Canon EOS 80D review

Selfies aside, the control layout is clearly designed for enthusiast photographers, with two multifunction dials and a dedicated exposure compensation dial on the top plate. One dial encircles the shutter button, while a Dial Function button resides at the center of the second, allowing users to quickly change what it controls, like aperture, white balance, and ISO. A third function dial is located around the four-way controller on the back of the camera, while the mode dial and newly designed power switch can be found to the left of the EVF. The back control dial is a bit flimsy, but all others feel very solid, with satisfying click points that make the camera easy to operate by feel.

Canon's Dual Pixel AF tech is simply a joy to use.

Overall, we found the controls to be very intelligently laid out. The shape of the grip and material used is also very comfortable. This is arguably one of the most usable and enthusiast-friendly designs of any small mirrorless camera. If there's an issue to be taken, it's simply due to how many buttons and dials are crammed into such a small space. On multiple occasions, we inadvertently hit the video record button while just carrying the camera in hand, leading to several short clips in which the ground was featured prominently.

In addition to all the physical controls, the screen is touch-sensitive. One thing we very much appreciate is that there is nothing on the screen that can't be duplicated with a physical button or dial, which is great for shooting in colder weather with gloves on. Some operations, like navigating across the menu system or selecting a focus point, are much more efficient with the touchscreen, so it's worth using when possible.

The screen also works as a blind touch panel so you can still use it to move the focus point even when framing through the EVF. The M5 offers some advanced options for adjusting how this functionality works, including the ability to limit the touch-sensitive region to a single portion of the screen. Users can also choose between absolute or relative response. The default absolute behavior means when you touch a point on the screen, the focus point will move to the corresponding coordinates within the EVF regardless of where it was before. We actually preferred the relative setting, which allows you to drag the focus point from its origin no matter where your thumb happens to land on the screen. When using a limited touch region, however, the relative setting won't always allow the focus point to be moved across the entire frame, so we recommend experimenting with these options to find the settings that work best for you.

Sharing images and controlling the camera remotely is also easy thanks to both Wi-Fi and Bluetooth. Bluetooth operation is limited to remotely operating the camera and doesn't offer live view, but it uses less energy than Wi-Fi and maintains a constant connection to your mobile device. For transferring images over Wi-Fi, the M5 can also connect to a home network, so you don't need to connect your phone to the camera's Wi-Fi directly (although, this is still an option when you're in the field).

Performance and image quality

Thanks to the Digic 7 processor, the EOS M5 can shoot at seven frames per second (fps) with continuous autofocus and live view. With AF and exposure locked, that speed jumps up to nine fps. Those numbers are a bit behind the competition (the Sony A6300 can shoot 11 fps with AF, or eight with AF and live view) but should be adequate for most users.

The biggest jump in performance the M5 makes over the M3 is in autofocus. Canon's Dual Pixel AF tech is simply a joy to use. Combined with the STM focus motors in EF-M lenses, AF performance is lightning fast and whisper quiet. In all but dimly lit indoor situations, we didn't have any obvious AF errors.

Face detection AF also works very well. In our testing, it easily tracked a face across the entire frame, even when moving the camera quickly. This is great for all types of portrait photography (yes, including selfies) but is also nice for shooting video. It is clear that Canon put a good amount of effort into making the M5 approachable to beginners even as it built it up for enthusiasts.

Battery life in normal mode may be a paltry 295 shots (based on CIPA testing), but this can be increased to 410 using the camera's Eco mode. Eco mode dims the display after two seconds of inactivity and turns it off after 10 seconds. The camera wakes up instantly with just a half press of the shutter button (or any other operation), so we didn't find Eco mode bothersome. We recommend switching it on except when you need more time to set up a shot.

It's great to see that Canon gave the M5 its current best APS-C sensor, rather than curtail it with an older unit in order to differentiate the more expensive 80D. It truly makes the M5 a sort of miniature 80D, with more-or-less equal performance and image quality. Users will definitely want to shoot in RAW in order to maximize detail, but in-camera JPEGs will be fine for sending to a phone over Wi-Fi for quick sharing to social media.

Noise is very well managed through ISO 800 and even 1,600 and 3,200 are usable. Above that, things start to get a little rough, although at reduced image size you could get away with ISO 12,800 if you had to. The maximum setting of 25,600 comes with a significant jump in noise and corresponding loss of detail and should therefore be avoided. If you see Sasquatch in a dark wood on a moonless night, however, ISO 25,600 might be worth it.

More: Canon filed more U.S. patents than Google, Apple, and Intel in 2016

Image quality is otherwise great with nice colors in both RAW and JPEG. Canon's sensors may still not match the dynamic range or high ISO performance of those from Sony, but the average user is unlikely to notice the difference in everyday use. Given Canon's great ergonomics and, in this reviewer's opinion, more intuitive menu system, the M5 would make a compelling choice over the Sony A6300 for still photographers – if only Canon had more EF-M lenses.

Video

Still photography is only half of the equation on any modern camera, and video is unfortunately the biggest thing holding the M5 back. Canon has gone to great lengths to make shooting video as easy as possible on this camera, but at the end of the day, it fails to live up to the standards set by Sony and Panasonic, which are putting 4K into their cameras, among other features (the M5 support Full HD 1080 at 60p).

Unique to the M5 is a hybrid image stabilization system that combines in-lens optical stabilization with electronic image stabilization (EIS) for shooting smooth handheld video. Canon calls this system Combination IS and says it stabilizes footage on a total of five axes, similar to what other brands offer with sensor-shift stabilization.

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However, we found the negative effects of EIS to be too strong to ignore, with a noticeable loss of video quality due to the necessary cropping required to stabilize the image. We much preferred the results when using just in-lens optical stabilization, as Canon's implementation of 1080p is actually pretty good when not being altered by EIS.

While it offers manual exposure, focus peaking, and a microphone jack, the M5 won't be the filmmaker's choice of mirrorless camera. It might make due for the still photographer who wants to capture the occasional video on the side, but if you're looking for a camera that can truly give you the best of both worlds, this isn't it.

Warranty information

The M5 carries a one-year limited warranty, which is on par with most consumer cameras.

Our Take

With the EOS M5, Canon has shown us that it is at least willing to take a stab at the enthusiast mirrorless market, and we couldn't be happier about that decision. Somewhat lackluster video features, a merely okay electronic viewfinder, and a limited lens selection make for significant drawbacks, but there is still a lot to like about this camera. From a still photography perspective, it provided the best shooting experience we've yet had on a sub-$1,500 mirrorless camera, and we're hopeful things will only get better from here for the EOS M system.

Is there a better alternative? 

The M5 lives at the center of a very crowded market. Sony's A6300 is the obvious comparison here, which at $1,000 (body only) offers incredible value for the money, including 4K video and higher continuous shooting speeds. The Canon's superior ergonomics go a long way to make up for what it lacks under the hood, but that won't be enough for everyone.

How long will it last?

The M5 is a well-made camera with the build quality we've come to expect from Canon. We have no reason to doubt its efficacy for several years to come, but the problem, again, is that it is already outclassed by other mirrorless cameras on the market today. If you are okay being behind the curve in terms of video and continuous shooting performance, then the M5 could easily last you a long time, but it's not really an example of the latest and greatest tech.

Should you buy it?

Yes, if you are looking for a smaller take-anywhere camera that takes great photos, especially Canon DSLR owners who want familiar controls and official support for your existing lenses (note that the EOS M Mount adapter costs $200). Otherwise, you may be best holding off while Canon fleshes out its EOS M ecosystem.

While the M5 has great potential as a still camera, the lack of native lenses prevents it from appealing to enthusiast photographers, a demographic that would otherwise love using it. There is currently no EF-M portrait lens, for example, and the 22mm f/2 STM pancake lens is the only option with an aperture faster than f/3.5. With two or three more decent lenses, we wouldn't hesitate to recommend the M5 to all manner of photographers. For now, casual users will appreciate the compact size and excellent AF performance of the kit lens, but enthusiasts will be left wanting.

Source: Canon EOS M5 review

Fujifilm X-T20 mirrorless camera

Fujifilm X-T20 mirrorless cameraMark Peters : January 22th 2017 - 08:55 CET Fujifilm X-T20 compact mirrorless cameraTaking the body styling from the highly-regarded Fujifilm X-T10, the X-T20 adds a Video option to the Drive Dial to enable instantaneous switching from still photo shooting to the video recording mode. The Exposure Compensation Dial now has the C position for exposure compensation up to ±5 stops, while the LCD monitor uses a tilting touchscreen panel for intuitive operation at almost any angle. The X-T20 is also equipped with an Auto mode selector lever for selecting the fully-automatic Advanced SR Auto mode where the camera chooses the optimum settings for a given scene. Staying true to the Fujifilm X-Series functional design ethos, the X-T20 also combines an D-SLR style viewfinder and dial-based operation. Fujifilm mirrorless cameraThe Fujifilm X-T20 camera features the new ACROS Film Simulation mode, while the larger phase detection AF area and updated algorithm deliver an ultra-fast AF speed of 0.06sec. The Fujifilm camera also offers 5fps live-view shooting, a quick start-up time of 0.4sec., shutter time lag of 0.050sec. and shooting interval of 0.25sec. The Fujifilm X-T20 features AF-C Custom Settings where you can choose from five AF-C presets according to the way your chosen subject is moving. The AF algorithm has been revised for improved accuracy, resulting in a dramatic improvement when tracking a moving subject in the AF-C mode. In addition, the Fujifilm X-T20 is capable of recording both Full HD and 4K video using the X Series' famous Film Simulation effects. You can output recorded video to an external monitor via the HDMI port and input audio from an external microphone. Fujinon X-mount lensesThe Fujifilm XF lens line-up now features 24 lenses after today's announcement of the Fujinon XF50mm F2 R WR prime lens. The very latest digital technologies have been used to develop X-mount lenses, which offer high-precision optical designs to deliver the highest possible image quality. The current line-up of Fujinon lenses ranges from ultra wide-angle to super-telephoto and includes five fast aperture prime lenses. These lenses bring out the very best image quality from the Fujifilm X-T20 mirrorless camera. Optional accessories such as mount adapters and macro extension tubes further broaden photographic potential. Fujifilm X-T20 price & availabilityThe Fujifilm X-T20 price in US dollar is set at $900 for the body only version. Retail prices vary from country to country. The Fujifilm X-T20 mirrorless digital camera will be available in black and silver starting in February 2017. Availability of colors and optional X-T20 accessories may differ depending on the country. Please visit the Fujifilm website in your region for more details. As soon as we receive a test sample, we will put this camera to the test and publish a Fujifilm X-T20 review.

Source: Fujifilm X-T20 mirrorless camera

Canon EOS M5 review

The EOS M5 made waves in the photo industry when it was announced last fall. It was a ray of light for enthusiasts and Canon fans who had long hoped for a serious mirrorless offering from the company. Unlike earlier EOS M cameras, the M5 doesn't skimp on tech, using the same 24MP APS-C sensor and dual-pixel autofocus system from the acclaimed EOS 80D DSLR.

For everything it brings to the table, the M5 unfortunately still lags behind mirrorless cameras from other manufacturers in some respects, namely video. Both Sony and Panasonic offer 4K resolution at similar price points, and even Fujifilm and Olympus have implemented the feature in their top-end cameras. For a company with so much professional video experience, it would have been nice to see Canon put more leading edge filmmaking tech into its flagship mirrorless camera, although we can't say we're surprised by the decision: the higher-priced 80D also lacks 4K.

More: Sony a6300 review

While not particular to the M5, Canon's limited lineup of EOS EF-M lenses is another weak point. As such, the EOS M system remains most attractive to Canon DSLR shooters looking for a smaller camera that's still compatible with their existing lenses (via the EOS EF-M Mount adapter). If the M5 signals a renewed focus on mirrorless for Canon, then hopefully new lenses are on the way. We hope this proves to be true, as the M5 is a solid camera and one that deserves a better selection of quality glass to put on it.

Design and usability

The most immediate difference between the M5 and its predecessors is the electronic viewfinder "hump." Like the Olympus OM-D series, the EVF is situated directly above the lens, lending the camera the appearance of a small DSLR. In general, we prefer this setup to the far-left-mounted EVF of the Sony A6000 series, but the M5's compact design means the shooting position will be a bit awkward for left eye shooters.

Daven Mathies/Digital Trends

Daven Mathies/Digital Trends

A built-in EVF is definitely a welcome addition (its M3 predecessor requires an optional EVF that slides into the hot shoe), but we do wish it was a bit larger. Its 2.36-million-dot resolution looks good on paper, but real-world performance leaves a little to be desired. Luckily, the 1.62-million-dot articulating LCD looks great. Both color accuracy and sharpness appear better on the LCD compared to the EVF.

The screen can tilt up by nearly 90 degrees and can flip downward a full 180 degrees for easy selfie framing, so there's also that.

More: Canon EOS 80D review

Selfies aside, the control layout is clearly designed for enthusiast photographers, with two multifunction dials and a dedicated exposure compensation dial on the top plate. One dial encircles the shutter button, while a Dial Function button resides at the center of the second, allowing users to quickly change what it controls, like aperture, white balance, and ISO. A third function dial is located around the four-way controller on the back of the camera, while the mode dial and newly designed power switch can be found to the left of the EVF. The back control dial is a bit flimsy, but all others feel very solid, with satisfying click points that make the camera easy to operate by feel.

Canon's Dual Pixel AF tech is simply a joy to use.

Overall, we found the controls to be very intelligently laid out. The shape of the grip and material used is also very comfortable. This is arguably one of the most usable and enthusiast-friendly designs of any small mirrorless camera. If there's an issue to be taken, it's simply due to how many buttons and dials are crammed into such a small space. On multiple occasions, we inadvertently hit the video record button while just carrying the camera in hand, leading to several short clips in which the ground was featured prominently.

In addition to all the physical controls, the screen is touch-sensitive. One thing we very much appreciate is that there is nothing on the screen that can't be duplicated with a physical button or dial, which is great for shooting in colder weather with gloves on. Some operations, like navigating across the menu system or selecting a focus point, are much more efficient with the touchscreen, so it's worth using when possible.

The screen also works as a blind touch panel so you can still use it to move the focus point even when framing through the EVF. The M5 offers some advanced options for adjusting how this functionality works, including the ability to limit the touch-sensitive region to a single portion of the screen. Users can also choose between absolute or relative response. The default absolute behavior means when you touch a point on the screen, the focus point will move to the corresponding coordinates within the EVF regardless of where it was before. We actually preferred the relative setting, which allows you to drag the focus point from its origin no matter where your thumb happens to land on the screen. When using a limited touch region, however, the relative setting won't always allow the focus point to be moved across the entire frame, so we recommend experimenting with these options to find the settings that work best for you.

Sharing images and controlling the camera remotely is also easy thanks to both Wi-Fi and Bluetooth. Bluetooth operation is limited to remotely operating the camera and doesn't offer live view, but it uses less energy than Wi-Fi and maintains a constant connection to your mobile device. For transferring images over Wi-Fi, the M5 can also connect to a home network, so you don't need to connect your phone to the camera's Wi-Fi directly (although, this is still an option when you're in the field).

Performance and image quality

Thanks to the Digic 7 processor, the EOS M5 can shoot at seven frames per second (fps) with continuous autofocus and live view. With AF and exposure locked, that speed jumps up to nine fps. Those numbers are a bit behind the competition (the Sony A6300 can shoot 11 fps with AF, or eight with AF and live view) but should be adequate for most users.

The biggest jump in performance the M5 makes over the M3 is in autofocus. Canon's Dual Pixel AF tech is simply a joy to use. Combined with the STM focus motors in EF-M lenses, AF performance is lightning fast and whisper quiet. In all but dimly lit indoor situations, we didn't have any obvious AF errors.

Face detection AF also works very well. In our testing, it easily tracked a face across the entire frame, even when moving the camera quickly. This is great for all types of portrait photography (yes, including selfies) but is also nice for shooting video. It is clear that Canon put a good amount of effort into making the M5 approachable to beginners even as it built it up for enthusiasts.

Battery life in normal mode may be a paltry 295 shots (based on CIPA testing), but this can be increased to 410 using the camera's Eco mode. Eco mode dims the display after two seconds of inactivity and turns it off after 10 seconds. The camera wakes up instantly with just a half press of the shutter button (or any other operation), so we didn't find Eco mode bothersome. We recommend switching it on except when you need more time to set up a shot.

It's great to see that Canon gave the M5 its current best APS-C sensor, rather than curtail it with an older unit in order to differentiate the more expensive 80D. It truly makes the M5 a sort of miniature 80D, with more-or-less equal performance and image quality. Users will definitely want to shoot in RAW in order to maximize detail, but in-camera JPEGs will be fine for sending to a phone over Wi-Fi for quick sharing to social media.

Noise is very well managed through ISO 800 and even 1,600 and 3,200 are usable. Above that, things start to get a little rough, although at reduced image size you could get away with ISO 12,800 if you had to. The maximum setting of 25,600 comes with a significant jump in noise and corresponding loss of detail and should therefore be avoided. If you see Sasquatch in a dark wood on a moonless night, however, ISO 25,600 might be worth it.

More: Canon filed more U.S. patents than Google, Apple, and Intel in 2016

Image quality is otherwise great with nice colors in both RAW and JPEG. Canon's sensors may still not match the dynamic range or high ISO performance of those from Sony, but the average user is unlikely to notice the difference in everyday use. Given Canon's great ergonomics and, in this reviewer's opinion, more intuitive menu system, the M5 would make a compelling choice over the Sony A6300 for still photographers – if only Canon had more EF-M lenses.

Video

Still photography is only half of the equation on any modern camera, and video is unfortunately the biggest thing holding the M5 back. Canon has gone to great lengths to make shooting video as easy as possible on this camera, but at the end of the day, it fails to live up to the standards set by Sony and Panasonic, which are putting 4K into their cameras, among other features (the M5 support Full HD 1080 at 60p).

Unique to the M5 is a hybrid image stabilization system that combines in-lens optical stabilization with electronic image stabilization (EIS) for shooting smooth handheld video. Canon calls this system Combination IS and says it stabilizes footage on a total of five axes, similar to what other brands offer with sensor-shift stabilization.

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However, we found the negative effects of EIS to be too strong to ignore, with a noticeable loss of video quality due to the necessary cropping required to stabilize the image. We much preferred the results when using just in-lens optical stabilization, as Canon's implementation of 1080p is actually pretty good when not being altered by EIS.

While it offers manual exposure, focus peaking, and a microphone jack, the M5 won't be the filmmaker's choice of mirrorless camera. It might make due for the still photographer who wants to capture the occasional video on the side, but if you're looking for a camera that can truly give you the best of both worlds, this isn't it.

Warranty information

The M5 carries a one-year limited warranty, which is on par with most consumer cameras.

Our Take

With the EOS M5, Canon has shown us that it is at least willing to take a stab at the enthusiast mirrorless market, and we couldn't be happier about that decision. Somewhat lackluster video features, a merely okay electronic viewfinder, and a limited lens selection make for significant drawbacks, but there is still a lot to like about this camera. From a still photography perspective, it provided the best shooting experience we've yet had on a sub-$1,500 mirrorless camera, and we're hopeful things will only get better from here for the EOS M system.

Is there a better alternative? 

The M5 lives at the center of a very crowded market. Sony's A6300 is the obvious comparison here, which at $1,000 (body only) offers incredible value for the money, including 4K video and higher continuous shooting speeds. The Canon's superior ergonomics go a long way to make up for what it lacks under the hood, but that won't be enough for everyone.

How long will it last?

The M5 is a well-made camera with the build quality we've come to expect from Canon. We have no reason to doubt its efficacy for several years to come, but the problem, again, is that it is already outclassed by other mirrorless cameras on the market today. If you are okay being behind the curve in terms of video and continuous shooting performance, then the M5 could easily last you a long time, but it's not really an example of the latest and greatest tech.

Should you buy it?

Yes, if you are looking for a smaller take-anywhere camera that takes great photos, especially Canon DSLR owners who want familiar controls and official support for your existing lenses (note that the EOS M Mount adapter costs $200). Otherwise, you may be best holding off while Canon fleshes out its EOS M ecosystem.

While the M5 has great potential as a still camera, the lack of native lenses prevents it from appealing to enthusiast photographers, a demographic that would otherwise love using it. There is currently no EF-M portrait lens, for example, and the 22mm f/2 STM pancake lens is the only option with an aperture faster than f/3.5. With two or three more decent lenses, we wouldn't hesitate to recommend the M5 to all manner of photographers. For now, casual users will appreciate the compact size and excellent AF performance of the kit lens, but enthusiasts will be left wanting.

Source: Canon EOS M5 review

Download the full Fuji GFX catalogue!

GFX 50shttp://www.fujifilm.com/products/digital_cameras/gfx/fujifilm_gfx_50s/pdf/index/gfx_catalogue_01.pdfx100fhttp://www.fujifilm.com/products/digital_cameras/x/fujifilm_x100f/pdf/index/x100f_catalogue_01.pdfx-t20http://www.fujifilm.com/products/digital_cameras/x/fujifilm_x_t20/pdf/index/x_t20_catalogue_01.pdfX Complete guidehttp://www.fujifilm.com/products/digital_cameras/pdf/x-complete_guide_01.pdf

GFX System Camera & LensesGFX 50S Medium Format Mirrorless Camera at Amazon, Adorama and BHphoto.Fujifilm GF 63mm F/2.8 R WR Lens for GFX at Amazon, Adorama and BHphoto.Fujifilm GF 32-64mm F/4 R LM WR Lens for GFX at Amazon, Adorama and BHphoto.Fujifilm GF 120mm F/4 R LM OIS WR Macro Lens for GFX at Amazon, Adorama and BHphoto.

GFX 50S Accessories at Amazon, Adorama and BHphoto.Fujifilm EVF-TL1 EVF Tilt Adapter for GFX 50S at Amazon, Adorama and BHphoto.Fujifilm H Mount Adapter G, for GFX at Amazon, Adorama and BHphoto.Fujifilm RLCP-002 Rear Lens Cap for GFX Lenses at Amazon, Adorama and BHphoto.Fujifilm BCP-002 Body Cap for GFX at Amazon, Adorama and BHphoto.Fujifilm FLCP-62II Front Lens Cap fpr GF 63mm Lens at Amazon, Adorama and BHphoto.Fujifilm VG-GFX1 Vertical Battery Grip f/GFX 50S at Amazon, Adorama and BHphoto.Fujifilm NP-T125 Rechargeable Battery for GFX 50S at Amazon, Adorama and BHphoto.Fujifilm BC-T125 Battery Charger for NP-T125 Battery at Amazon, Adorama and BHphoto.Fujifilm AC-15V AC Power Adapter for GFX 50S at Amazon, Adorama and BHphoto.

New cameras & LensesFujifilm X100F Mirrorless Digital Camera Body – Silver at Amazon, Adorama and BHphoto.Fujifilm X100F Mirrorless Digital Camera Body – Black at Amazon, Adorama and BHphoto.Fujifilm WCL-X100 II Wide Conversion Lens for X100F Camera, Silver at Amazon, Adorama and BHphoto.Fujifilm WCL-X100 II Wide Conversion Lens for X100F Camera, Black at Amazon, Adorama and BHphoto.Fujifilm TCL-X100 II Tele Conversion Lens for X100F Camera, Silver at Amazon, Adorama and BHphoto.Fujifilm TCL-X100 II Tele Conversion Lens for X100F Camera, Black at Amazon, Adorama and BHphoto.Fujifilm XF 50mm F/2 WR Lens, Black at Amazon, Adorama and BHphoto.Fujifilm XF 50mm F/2 WR Lens, Silver at Amazon, Adorama and BHphoto.Fujifilm X-T20 Mirrorless Digital Camera Body, Silver at Amazon, Adorama and BHphoto.Fujifilm X-T20 Mirrorless Digital Camera Body, Black at Amazon, Adorama and BHphoto.Fujifilm X-T20 with XF 18-55mm F2.8-4 R LM OIS Lens, Silver at Amazon, Adorama and BHphoto.Fujifilm X- T20 with XF 18-55mm F2.8-4 R LM OIS Lens, Black at Amazon, Adorama and BHphoto.Fujifilm X-T20 with XC 16-50mm F3.5-5.6 OIS Lens – Silver at Amazon, Adorama and BHphoto.Fujifilm X-T20 with XC 16-50mm F3.5-5.6 OIS Lens – Black at Amazon, Adorama and BHphoto.

New AccessoriesFujifilm Leather Case for X100F Digital Camera, Brown at Amazon, Adorama and BHphoto.Fujifilm Leather Case for X100F Digital Camera, Black at Amazon, Adorama and BHphoto.Fujifilm FLCP-46 Lens Cap, Compatible with XF50mmF2 Lens at Amazon, Adorama and BHphoto.Fujifilm PRF-46 46mm Protector Filter for XF50mmF2 at Amazon, Adorama and BHphoto.

Source: Download the full Fuji GFX catalogue!

Groundbreaking FUJIFILM GFX 50S Medium Format Mirrorless Camera Delivers Ultra-High Image Quality

WEBWIRE – Thursday, January 19, 2017

Valhalla, N.Y., January 19, 2017 – As the leader in innovation for photographers, FUJIFILM North America Corporation today announces the FUJIFILM GFX 50S medium format mirrorless digital camera that will launch late February, 2017 with an initial selection of three FUJINON lenses - the GF63mmF2.8 R WR, the GF32-64mmF4 R LM WR, and the GF120mmF4 R LM OIS WR Macro. These lenses encapsulate the design philosophy of FUJINON lenses that are renowned by photographers around the world. The innovative GFX system utilizes a Fujifilm exclusive 43.8 x 32.9mm (FUJIFILM G Format) 51.4MP CMOS sensor. The GFX 50S combines the heritage of over 80 years of imaging and the innovative award-winning functional design of our X Series digital camera system in the relentless pursuit of image quality. The FUJIFILM GFX 50S RevealedThe FUJIFILM GFX 50S mirrorless digital camera uses the new 51.4MP FUJIFILM G Format 43.8 x 32.9mm sensor with approximately 1.7x the area of a 35mm sensor. In addition to t he camera are three new FUJINON GF Lenses that will be followed by three additional lenses later in 2017. The GFX 50S 51.4MP sensor shows its true potential when making large format prints, capturing majestic landscape photos or reproducing historical documents. Compared to a full size sensor with equivalent megapixels, both resolution and sensitivity are dramatically better due to the larger size of each pixel. As a result, the sensor captures great textures and subtlety of tone that is unique to large size sensors. The texture and tone combine to give a unique three-dimensional effect creating extremely high quality photography. Images captured can be reproduced down to the smallest detail, conveying the texture of the subject, a three-dimensional feeling, and the atmosphere of the scene. For flash photography in the studio or outdoors during the day, the GFX 50S sensor has a native ISO of 100. The sensor can also be adapted to various aspect ratios, including 4:3, 3:2, 16:9, 1: 1, 65:24, 5:4, 7:6, all of which are available in large and medium format film cameras. The FUJIFILM GFX 50S uses the X Processor Pro (also used in the X-Pro2 and X-T2 cameras) and allows photographers to use Fujifilm's proprietary Film Simulations with a Medium Format sensor. The camera supports Full HD recording at 29.97p/25p/24p/23.98p. Users can enjoy high quality video with no post-processing required by using Film Simulation modes just like they would with a still image. The GFX 50S introduces a new Color Chrome Effect feature that reproduces subtle tones in highly saturated subjects. Ultimate Performance in a Compact BodyWith a compact and lightweight body constructed from magnesium alloy, the FUJIFILM GFX 50S weighs approximately 43 ounces when paired with the FUJINON GF63mmF2.8 R WR, and weighs approximately 60% of a medium format DSLR camera equipped with a sensor of the same size. When compared to a full frame, the weight is almost identical. Overall camera body heigh t and width have also been minimized for maximum flexibility, overturning the common perceptions regarding the mobility of medium format digital cameras. Bright, Crystal Clear Viewfinder and Large TouchscreenThe FUJIFILM GFX 50S gives users a 3.69M dot organic EL electronic viewfinder and 2.36M dot touchscreen LCD back panel for easy viewing. The EVF is detachable to allow for flexible operation. Users can attach the accessory EVF-TL1 EVF tilt adapter (sold separately) to allow the finder to be tilted to 90° vertically and swung ±45°. A 3.2 inch, 2.36M dot touch panel is used for the rear monitor, with touch operation for the menu, focusing points and image playback. A three-directional tilting LCD screen improves operability and makes viewing images and checking focus even easier. FUJINON Lenses Guarantee Image PerfectionAs part of the GFX system, Fujifilm is launching newly developed, ultra-high resolution FUJINON GF lenses. Taking advantage of the mirrorless system's struc ture, the G Mount has a short flange back distance of just 26.7mm that reduces the back focus distance as much as possible. This prevents vignetting and achieves edge-to-edge sharpness. All FUJINON GF Lenses have been designed to support sensors of over 100MP. GFX lens barrels feature an aperture ring in the same manner as FUJINON XF lenses, for intuitive operation. A new C (Command) Position has been added to the aperture ring, allowing users to change the aperture with the camera's command dial. The A (Auto) Position and C Position feature a locking button installed on the aperture ring that must be disabled to implement changes. Built for the Professional, and the EnthusiastJust as with the flagship X Series models, the FUJIFILM GFX 50S features dedicated dials to independently set aperture, shutter speed, and ISO, the important factors in determining exposure. Aperture and ISO feature a C (Command) and the shutter speed dial has a T (Time) Position. Setting the dial to this position allows the user to change exposure settings using the command dials on the front and rear of the camera body. The user can choose between these two operation methods according to their preference, ease of use, and the shooting environment. The GFX 50S is equipped with a 1.28 inch LCD sub monitor on the top of the body. Important exposure data such as aperture and shutter speed is displayed on this screen. This display is extremely useful when shooting on a tripod or tethered to a computer. A 117-point (9 x 13 / maximum of 425 points when miniaturized) contrast AF system is used on the GFX 50S. High-precision AF on the imaging sensor dramatically improves focusing accuracy with the shallow depth of field produced by medium format lenses. First adopted in the FUJIFILM X-Pro2, focus point selection can be performed by using the Focus Lever, which allows intuitive movement of the focus point. Alternatively, users can select the focus point from the touch panel LCD screen. I nitial Lens Lineup Will Include the Following Three FUJINON Options:

GF63mmF2.8 R WR (equivalent to 50mm in 35mm format)

GF32-64mmF4 R LM WR (equivalent to 25-51mm in 35mm format)

GF120mmF4 Macro R LM OIS WR (equivalent to 95mm in 35mm format)

 FUJINON GF63mmF2.8 R WRThe optical system features a construction of 8 groups and 10 elements, including 1 ED lens element. This lens construction is the most suitable for high resolution in compact and stylish design, the external form of this small and lightweight lens has a diameter of just 84.0 x 71.0mm with a weight of only 14.2 ounces \ 405 grams. Using the front group for the focus, aberrations due to focus distance are suppressed, achieving high resolution performance even when wide open from the center to the edges of the lens. FUJINON GF32-64mmF4 R LM WRThe FUJINON GF32-64mmF4 R LM WR features a construction of 11 groups and 14 elements, 3 aspheric elements, 1 ED lens and 1 super ED lens, allowing this lens to achieve image quality rivalling prime lenses. As a result, the lens demonstrates extremely high performance from the center all the way to the edges. The lens uses internal focusing, reducing the weight of the focus lens and achieving fast and silent AF by drivi ng focus using a linear motor. FUJINON GF120mmF4 R LM OIS WR MacroThe FUJINON GF120mmF4 R LM OIS WR Macro has a construction of 9 groups and 14 elements, including 3 ED lens elements. By adopting a floating focus method using a linear motor, silent high-speed autofocusing is achieved while aberrations are corrected, dramatically increasing the resolution. Furthermore, by arranging the ED lenses properly, chromatic aberrations are also properly corrected, contributing to high quality images. In designing this lens the quality of the out of focus area both in front and behind the plane of focus were considered, giving this lens beautiful bokeh. This lens is equipped with optical image stabilization (OIS) effective up to 5.0-stops, making this lens perfect for handheld shooting in low-light situations. Three Additional FUJINON GF Lenses to be Announced Later in 2017:

GF110mmF2 R LM WR (equivalent to 87mm in 35mm format)

GF23mmF4 R LM WR (equivalent to 18mm in 35mm format)

GF45mmF2.8 R WR (equivalent to 35mm in 35mm format)

 GFX 50S Accessories (sold separately)1. Vertical Battery Grip VG-GFX1 – high-performance battery grip is designed to place the release button, dials, and function buttons in the same positions when shooting vertically. The battery grip can be loaded with one NP-T125 dedicated battery, lowering the frequency that batteries need replacing. Also, by connecting the AC-15V accessory (sold separately), it is possible to charge the battery within the grip in approximately 2 hours. 2. EVF Tilt Adapter EVF-TL1 – mounting this accessory between the camera body and EVF, the angle of the EVF can be changed to angles from 0°〜90° vertically and from -45°〜+45° horizontally. Doing this allows the user to shoot at various angles while using the viewfinder, greatly increasing the versatility of the finder for different subjects. 3. H Mount Adapter G – allows you to use SUPER EBC FUJINON HC interchangeable lenses developed for the FUJIFILM GX645AF medium format film camera (discont inued). By attaching this adapter to the GFX 50S, a total of 9 SUPER EBC FUJINON HC interchangeable lenses and 1 tele-converter developed for the GX645AF can be used. While the focusing method will be limited to manual focusing, the lens aperture can be changed using the command dial on the camera body, and shooting with the leaf shutter built in to the lenses is also possible. Using this lens shutter will allow high speed flash synchronization up to a maximum speed of 1/800 sec. Also, the adapter is equipped with electrical contacts that can communicate with the camera body, independently creating, saving, and applying correctional data for each lens. The adapter supports Manual and Aperture Priority AE exposure modes. *A removable tripod foot is included to mount the camera with a heavy or long focal length lens.　4. View Camera Adapter G – allows the GFX 50S to be used as a digital back. The view camera adapter allows the GFX 50S to be mounted to the standard universal-type back of a view camera. This allows the use of FUJINON large format camera lenses, such as the CM-W FUJINON lens series. The camera or lens shutter can be triggered, allowing the user to choose the optimum method. The large image circle and the bellows of the view camera can be used with tilt, shift and swing movements, effective for product and architectural photography. *There may be instances in which the adapter cannot be mounted depending on the shape of the view camera. 5. Tethered Shooting Solutions – We have the following tethering solutions for photographers, including: X Acquire to transfer images from the camera to a hot folder on your computer for use with your preferred imaging software, Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom® and HS-V5 for Windows (sold separately). By connecting the GFX 50S to a PC via USB cable and using this software, it is possible to transfer photographed images directly to the PC, as well as control the camera from the PC. Also, by using the Control Panel Window newly added to Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®, additional camera functions become available. 6. RAW FILE CONVERTER EX2.0 – powered by SILKYPIX (free of charge) RAW development software and Adobe® Photoshop® Lightroom® / Adobe® Photoshop® CC (sold separately). RAW development software is used for detailed corrections and advanced image processing that isn't supported by the in-camera RAW conversion. Both software support Fujifilm's "Film Simulation" modes, allowing creation of image data that is extremely close to Fujifilm's advanced color reproduction. FUJIFILM GFX 50S Key Features:

51.4MP Medium Format 43.8 x 32.9mm sensor for superior sharpness and image quality for all photographers[list]

Adaptable to various aspect ratios, including 4:3 (default), 3:2, 16:9, 1:1, 65:24, 5:4, 7:6

FUJIFILM G Mount with short flange back distance of just 26.7mm

X-Processor Pro imaging processor

Detachable electronic viewfinder

Weather and dust resistant; operation to as low as 14 degrees Fahrenheit \ -10 degrees Celsius

File formats include three different JPEG settings (SUPER FINE, FINE, NORMAL), as well as two different RAW settings (uncompressed, compressed). TIFF output is also possible with in-camera RAW development

Full HD for Movie Mode: 1920x1080 29.97p/25p/24p/23.98p 36Mbps, in Film Simulation modes

Light body weighs approximately 43oz. \ 825g (including battery and memory card)

Uses SD Cards (UHS-II recommended)

Equipped with dual slots

Supports three different types of recording methods, "Sequential," in which recording can be continued according to shooting order, "Backup," which records the same data on two cards simultaneously, and "Sorting," which records RAW and JPEG data on separate cards

Uses newly developed NP-T125 high capacity battery for approximately 400 photos (with Auto Power Save ON)

All FUJINON GF Lenses are dust and weather resistant, built to withstand operation at temperatures as low as 14 degrees Fahrenheit \ -10 degrees Celsius allowing photographers to take them outdoors with confidence in challenging weather conditions.

The new FUJINON GF Lenses feature an aperture ring, a popular feature in the X Series, and have a new C (Command) Position on the ring to enable aperture adjustments with the Command Dial on the camera body

A Fluorine coating applied to the front lens element creates a hydrophobic coating that repels moisture.[/list]

The GFX 50S and FUJINON GF lenses culminate to create a new camera system capable of creating the world's highest level of photographic expressions by combining the thorough incorporation of knowledge regarding camera operation, optical design, image capture, and image processing. Availability and PricingThe new FUJIFILM GFX 50S Medium Format Camera Body will be available Late February, 2017 in the U.S. and Canada for USD $6,499.95 and CAD $8,499.99. Also available in February, 2017 will be the first three FUJINON GF lenses. GF63mmF2.8 R WR for USD $1,499.95 and CAD $1,899.99, GF32-64mmF4 R LM WR for USD $2,299.95 and CAD $2,999.99, and GF120mmF4 R LM OIS WR Macro for USD $2,699.95 and CAD $3,499.99. About FUJIFILM North America Corporation, Electronic Imaging

For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss. About FujifilmFUJIFILM Holdings America Corporation is based in Valhalla, New York, and is the regional headquarters for the Americas. It is comprised of fourteen directly owned subsidiary companies in the U.S. and Canada, and two in Latin America: Brazil and Colombia. The company manufactures, markets and provides service for a broad spectrum of industries including photographic, medical imaging and informatics, pharmaceutical and other life science industries. Industrial segments include data storage, electronic materials, chemical, and graphic arts products and services. For more information, please visit www.fujifilmusa.com. FUJIFILM Holdings Corporation, Toky o, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2016, the company had global revenues of $22.1 billion, at an exchange rate of 112.54 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.  All product and company names herein may be trademarks of their registered owners.### FOR IMMEDIATE RELEASE                                                                  � �                CONTACT:Matthew SchmidtFujifilm(914) 789-8529mschmidt@fujifilm.com

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Contact Information Matthew Schmidt Senior Manager, Corporate Communications Fujifilm Contact via E-mail

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Source: Groundbreaking FUJIFILM GFX 50S Medium Format Mirrorless Camera Delivers Ultra-High Image Quality