Tag Archives: full frame

Pentax’ new full frame DSLR is $550 – if you bought the previous one

22 Feb

So Ricoh* have let their secret plan out of the bag – build a DSLR that can massively undercut the competition’s upgrade cost by being upgradeable. The deal they offer, anticipated to be announced for all regions where Pentax has retailers, is to send your Pentax K-1 (Mk. I) camera in to their workshops, and get the latest hardware added and your camera sent back. No statement has been made on whether the same upgrade policy can or will be applied to future camera releases from Pentax/Ricoh.

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In what some people are calling a US $50 upgrade due to the price difference currently seen in some markets between the Pentax K-1 and Pentax K-1 II, the cameras will be fitted with a new main board that has an additional “Accelerator Unit” chip that improves noise performance by approximately 1 stop. Additionally, upgraded cameras will be capable of producing hand-held pixel shift images rather than requiring a tripod to use this feature.

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Due to the added noise control by way of the Accelerator Unit, the highest available sensitivity has been increased to ISO 819,200 – I previously reviewed this high ISO using samples for the Pentax KP.

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Imaging-Resource has dubbed the K-1 II the “first upgradeable DSLR”. How do you think the competition will respond to this new business model? Leave a comment!

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k-1_cards

 

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All images in this article are assumed to be promotional images from Ricoh.

* Ricoh is the Japanese multi-national company that bought and merged with Pentax and now maintains “Pentax” as a brand name for higher end cameras, including all DSLRs. Ricoh was in the recent past mostly known for selling office supplies, but has also sold cameras since the 1950s.

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Nikon is launching a full frame mirrorless

14 Jul

Nikon confirmed they are working on a mirrorless camera. While sometimes news have been blown out of proportion in the photo industry in the past, it seems likely in this case that they really mean they’re working on a new camera system. Nikon is not a company to throw up clickbait.

So how do I know the camera they’re working on is full frame? They said the camera would be Nikon-rashii, or Nikonish. Nikon has never made a medium format camera, so we can safely exclude that. Nikon is now best remembered for the F series, which dominated journalism for a decade or two.

But this is not about reliving the past. This is about competing in the current market. How many mirrorless systems are competing for the APS-C space? Mainly three – Fujifilm, Sony, and old rival Canon. How many are competing for full frame? Really only one – Sony. Nikon knows that there are things it can do better than Sony, ways to compete with Sony. When push comes to shove, maybe Sony won’t give them the sensors they want – maybe they’ll have to turn to Toshiba or Renesas. But for a company with Nikon’s heritage and customer relations, it would be way better to start in the full frame category and gain a following among professional photographers before Sony can fully convince them, than to try to mud-sling it out with Canon in the well-scoured APS-C swamp.

Pentax KP, affordable DSLR for low light

28 Jan

Ricoh just took the wraps off the Pentax KP, a rather compact magnesium alloy body DSLR with a 5-stop, 5 axis stabilisation system and ISO 819,200. The body is not particularly beautiful, but inside it waits a noise reduction co-processor that, by first appearances, rivals DxO’s PRIME software, but acts instantaneously. (If you’ve used DxO’s engine, you’ll know what I’m talking about.)

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The Pentax KP
(Source: Ricoh promotional materials)

Technical expose:High ISO images are noisier on average than low ISO ones. The noise cannot be neatly compressed, increases file size and slows down the process of writing files to storage (SD card in most cases). This can affect frame rates. In order to keep the frame rate up, Pentax used to apply noise reduction in RAW from ISO 3200 (several models including at least the K-5, K-5 II, K-5 IIs, K-30 and K-50). This was not configurable and led to mushy images that did not respond well to further noise reduction using other methods. So the way to work with these cameras was to underexpose ISO 1600 by up to three stops, depending on your need – not the best idea if you want to maximise colour tonality, but it got the job done.

screen-shot-2017-01-27-at-12-32-51

Where the magic happens:
the accelerator unit.
(Source: Ricoh promotional materials)

But from samples I’ve seen, the new co-processor, dubbed in the latest press release a “state-of-the-art accelerator unit”, renders such concerns obsolete. In the samples, ISO 6400 looks rather clean, and I’m curious to take a closer look at ISO 12,800. Several in the Pentax community have commented that they might delay their entry into full frame based on this camera’s performance, so the pressure is on for Pentax to bring the accelerator unit and high ISO performance to an updated K-1 full frame camera.

screen-shot-2017-01-27-at-12-37-31

Pure edge detection
in Live View
(Source: Ricoh promotional materials)

Launch price for the Pentax KP is going to be 1100 Euros/Dollars; the Pentax K-70 with similar performance up to ISO 102,400 (also has accelerator unit) is about 400 Euros/Dollars cheaper.

08_kp_silver_2040

Display articulation
(Source: Ricoh promotional materials)

Conclusion: The Pentax KP’s combination of five stops of stabilisation with state-of-the-art in-camera noise reduction will save you money on bodies, lenses, and software, as Pentax leapfrogs the competition. Bring on the night!

PS: Check out the separately posted ISO 819,200 sample image to see what it can do!

PPS: Also check out this comparison of ISO 102,400 after noise reduction in the KP and K-70.

Low light photography? Affordable? Look no further!

27 Jan

Ricoh just took the wraps off the Pentax KP, a rather compact magnesium alloy body DSLR with a 5-stop, 5 axis stabilisation system and ISO 819,200. The body is not particularly beautiful, but inside it waits a noise reduction co-processor that, by first appearances, rivals DxO’s PRIME software, but acts instantaneously. (If you’ve used DxO’s engine, you’ll know what I’m talking about.)

05_kp_black_2040

The Pentax KP
(Source: Ricoh promotional materials)

Technical expose:High ISO images are noisier on average than low ISO ones. The noise cannot be neatly compressed, increases file size and slows down the process of writing files to storage (SD card in most cases). This can affect frame rates. In order to keep the frame rate up, Pentax used to apply noise reduction in RAW from ISO 3200 (several models including at least the K-5, K-5 II, K-5 IIs, K-30 and K-50). This was not configurable and led to mushy images that did not respond well to further noise reduction using other methods. So the way to work with these cameras was to underexpose ISO 1600 by up to three stops, depending on your need – not the best idea if you want to maximise colour tonality, but it got the job done.

screen-shot-2017-01-27-at-12-32-51

Where the magic happens:
the accelerator unit.
(Source: Ricoh promotional materials)

But from samples I’ve seen, the new co-processor, dubbed in the latest press release a “state-of-the-art accelerator unit”, renders such concerns obsolete. In the samples, ISO 6400 looks rather clean, and I’m curious to take a closer look at ISO 12,800. Several in the Pentax community have commented that they might delay their entry into full frame based on this camera’s performance, so the pressure is on for Pentax to bring the accelerator unit and high ISO performance to an updated K-1 full frame camera.

screen-shot-2017-01-27-at-12-37-31

Pure edge detection
in Live View
(Source: Ricoh promotional materials)

Launch price for the Pentax KP is going to be 1100 Euros/Dollars; the Pentax K-70 with similar performance up to ISO 102,400 (also has accelerator unit) is about 400 Euros/Dollars cheaper.

08_kp_silver_2040

Display articulation
(Source: Ricoh promotional materials)

Conclusion: The Pentax KP’s combination of five stops of stabilisation with state-of-the-art in-camera noise reduction will save you money on bodies, lenses, and software, as Pentax leapfrogs the competition. Bring on the night!

PS: Check out the separately posted ISO 819,200 sample image to see what it can do!

Craving full-frame? Read this first.

3 Jul

Reading this article might save you some money. No, I’m not sponsored to write this, so you may safely proceed. All you’ll get is technical insight and honest opinion.

Perhaps like many photographers, you’ve thought about going for a full frame camera. Perhaps you’ve heard about shallow depth of field, low light shooting and noise. Maybe you’ve heard that full frame is “one stop faster” or “one stop brighter”.

In this article, I’ll cover one of the reasons for going full frame – more light, and how much sense it makes, especially for your bank balance.

Frontal product photo of a black camera against blueish white background.

Ever wanted a Nikon D800E? Read on. (Image credit: Jastrow)

By going from APS-C to full frame – probably the most common move – you gain approximately one stop of light, i.e. you get twice as much light over the whole of your sensor. It would be approximately true to say that shooting ISO 200 on full frame, you get the same noise as shooting ISO 80 on APS-C. So you can shoot faster shutter speeds and, over the whole sensor, get the same noise. However, if you shoot 16 megapixels on APS-C, then shooting 36 megapixels full frame, you will get the same PER PIXEL noise, at the same ISO. So far, so good.

Small rectangle denoted APS-C next to larger rectangle denoted

Relative size of the two major DSLR sensor formats (Copyright breakfastographer / Chriusha (Хрюша) / CC-BY-SA-3.0)

So if we shoot the same apertures, we gain a stop of light. So we can ask the question, how much does it cost to gain a stop of light?

If you upgrade from an 18-55/3.5-5.6 APS-C kit lens to a 17-50/2.8 APS-C premium zoom, you gain 1-2 stops of light, and it might cost you 150 Eurodollars if you buy used. Or for about the same price, you could upgrade to a 17-70/2.8-4.5, which gives you almost exactly one stop advantage over the kit lens, and a bit of extra range.

If you further upgrade to an 18-35/1.8 zoom, you might pay about 600 Eurodollars used or a good offer new, and you would gain a stop over the 17-50/2.8 or over two stops vs. an 18-55/3.5-5.6 kit lens. But you shorten your range by about one stop of teleconversion. Don’t worry if that sounds technical – just remember that 35mm is 35mm and not 50, 55 or 70mm.

Black zoom lens pointing upwards with hood attached, and lens cap lying next to it, label up. Zoom ring indicates 17-24-35-50. White background.

Another possible upgrade path? The Tamron 17-50/2.8 (Image credit: Christian Fischer/CC-BY-SA-3.0 Unported)

If low light shooting, reduced noise or faster shutter speeds are what you’re after, and you’re still shooting with an APS-C camera and kit lens, you owe it to yourself to first invest the 150 to see if the extra light is worth it. This will put you in a much better position to judge whether you want to invest about ten times that amount (or more) to get to a full frame camera and appropriate lens. (Note that a full frame camera with an f/4 lens offers no light advantage over an APS-C camera with an f/2.8 lens!)

There are other points to consider, of course, some of which I’ll touch on briefly. A full frame camera generally offers greater sharpness due to both an increase in resolution and easier manufacture and assembly of appropriate glass. The full frame format is more resistant to diffraction, typically tolerating f/11 rather than f/8 (APS-C) or f/5.6 (Micro Four Thirds) – note that these assumptions only hold for certain pixel pitch, i.e. a 36 megapixel full frame camera is just as sensitive to diffraction at the pixel level as a 16 megapixel APS-C camera. (Other assumptions apply, such as having comparable filter stacks in front of the sensor.) However, over the entire frame, the full frame camera is more tolerant. The flip side is that you need to shoot at those smaller stops to reach the same depth of field, meaning that in landscape shooting, there is no full frame advantage in available light, for the same positioning and framing.

Furthermore, full frame has greater limitations when it comes to designing zoom lenses – you may notice that a common superzoom lens specification for full frame is the 28-300mm lens, whereas on APS-C, the limit has been pushed to 16-300mm – the same versatility in focal length as a 24-450mm on full frame!

Similarly, compare the Sigma 18-35/1.8 to its full frame sibling, the 24-35/2. The smaller lens is both faster and, depending on your point of view, slightly more versatile. (The comparison is hampered by the full frame lens being the equivalent of a 16-24mm on APS-C – not an easy comparison!)

So a full frame camera is best suited to the shooter who knows what situations they want to cover and what their preferred focal lengths are. If you prefer spontaneous shooting and versatility, it is likely that a full frame camera will not make you happy.

Arguments about achieving shallow depth of field more easily on a full frame camera deserve a separate article.

Update 2/2/2017: Also check out my newer article, Low light photography? Affordable? Look no further! for the latest development, or check out a sample image.

Pentax full-frame with AstroTracer built in

28 Jan

Ricoh just updated its full-frame camera information. Of particular interest is the phrase, “using the camera’s ASTROTRACER function” under one of the new images (from the D-FA 24-70mm lens). I understand this to mean that the camera itself will provide the AstroTracer, so that no O-GPS1 accessory is needed. Note, however, that one reviewer of the K-3 II has commented that the inbuilt AstroTracer function in that camera was not as reliable as using the O-GPS1 on the K-3. Hopefully, Ricoh will have made improvements in this area.

Pentax full-frame: eye-opening ergonomics

23 Oct

Apparently, the cat’s out the bag today at Photo Plus. The Pentax full-frame will be released with an amazing new user interface design that takes it back to the strengths of the K-5. Central to this is a dial on which you pick what you want to set, e.g. ISO or HDR characteristics, and a second dial on which to make the actual setting. This allows you to have full manual control over one extra setting in addition to aperture (rear wheel, as K-5/K-3) and shutter speed (front wheel, as K-5/K-3), so that you don’t have to take your eye off the viewfinder.

They showed an actual production copy behind glass – the way we know it’s a production copy is that they had to tape over the name. So the name is still a secret.

The camera has two card slots.

There’s a growing rumour that the display, which is tiltable (in three dimensions), will also be detachable.

Rumours about it having either a 36 megapixel or 42 megapixel sensor also continue to circulate – both apparently from reliable sources!

Rumoured initial price is 2400 USD, with an expected street price of 1900 USD.

Will continue to update as I learn more.