In recent years, compact cameras had to settle for relatively small image sensors, such as 1/2.3-inch or 1/1.7-inch models, 2/3-inch image converters used to be state of the art. Unfortunately, manufacturers forgot, that bigger sensors produce a better image. Meanwhile they try to outdo each other on the megapixel count. Therefore, I was positively surprised by Sony, who defied that trend with their Sony RX100, which had a considerably bigger sensor, as well as a wide-aperture lens.
Sony’s move to bigger image sensors, turned out to be a spot-on decision, in 2013 they released their first follw-up model, the Sony RX100 II. This year the third generation (Sony RX100 III) got to see the light of day.
The company replaced the criticized UltraPixel module with 4 Megapixels with a conventional 13 MP sensor in its terminal.
While the idea behind the "UltraPixel" module look good, a sensor with larger sensors able to capture more light in difficult situations, with a limited resolution of 4 megapixels was that in many situations not enough.
Now, HTC has launched a new version of its flagship terminal the UltraPixel camera with 13-megapixel sensor. This smartphone will reach the Asian market initially with the name of HTC One M8 Eye. The name reminds us of the Desire Eye which the company launched yesterday, but this time it has nothing to do with selfies.
Otherwise it is the same terminal as the original HTC One M8, with its dual camera, aluminum body and Snapdragon 801 processor in its interior.
Best Camera phone
TheDitigalCamera has developed a new battery life test procedure which confronts the batteries of smartphones with a burst of trying tasks, related to our usage. The results are surprising.
Remember your old Nokia 3310, that GSM capable brick that delivers your messages and calls for three days without ever getting near an electrical outlet. We are in the year 2000. 14 years later, most smartphones can’t go without a charge after a normal day of usage. It’s hard to speak of regression since their performance have reached monumental bounds… But we do it anyway. This frustration has been amplified since our smartphones have become more and more indispensable. And more versatile. Processors, screens, sensors of all kinds, the power exerted by smartphones is not vain, it corresponds with the natural evolution of always advancing multimedia usage: high resolution photos (See more: Best Camera Phone), Full HD video capturing, 3D gaming, multitasking, etc. How do we reconcile this abundance of performance with a suitable battery life? A technological challenge, surely one of the biggest of the next few decades for manufacturers of smartphones and mobile devices in general.
Full Frame: Nikon’s bold gamble
When Nikon announced D750, two things happened. First, some slowdown was noticed amongst buyers of D810, of which a quite significant number would have waited a little more to invest in a D750 and by the way saved 1000 dollars in price difference. I can understand them, it makes sense even if, a closer examination shows that Nikon D810 has some specificities that D750 does not have; we will get back to this. Then, and strangely enough, some have thought that the launch of D750 marked the end of Nikon D610. And that frankly, I do not buy for a second, I rather believe the opposite. I think that with the launch of D750, Nikon has firmly established its range of digital SLR (Single Lens Reflex), taking up the challenge of full frame. Personally, this range does holds up, up to four times better. Except for Nikon D750, I have used all cases of the Nikon full frame range during long work sessions. Just yesterday, I was working on pictures taken with Nikon D610 and I was captivated by the image quality, dynamism and sharpness. Last July, during an interview, I was asked what would be my advice to a young professional photographer wishing to start using the Nikon range and I answered without a moment’s pause, Nikon D610. My answer might be different today with the announcement of Nikon D750, but nonetheless, each Nikon case belonging to the full frame frame range has its own assets. It is impossible to contrast one with another and difficult to compare them. Each reflex has its target and its customers it will match. Following is a brief overview of the Nikon 24*26 range, but first a basic question. Why choose a Full Frame?
Why a full frame format DSLR?
Photographers from Argentina (mentioning no names) would look at you in a funny manner if you were to ask them that question. This is because, in olden days, you see, the film was not cut into pieces, a SLR (single lens reflex) camera was 24*36 and that was it. When the digital showed up, there were contingencies and technical requirements which made it more economical and less costly to manufacture sensors that are not full format. In the beginning, Nikon has delivered DX sensors with a conversion factor of 1.5. Canon, on its side, has made APS-C sensors on its amateurs range (conversion factor of 1.6) and even APS-H (conversion factor of 1.3) on some SLR of the Pro range (e.g. EOS 1D Mark IV). Some have seen in the non full frame sensor a major advantage. Indeed, an optical of 200mm behaved like a focal of 320mm, all this with the help of APS-C sensor alone. But what was interesting upstream proved more difficult in the other direction. It was not wise enough for a 16mm to become a 26mm. Full format also affects other parameters such as the depth of field, the quality of the image and its dynamics and leads to a more demanding range of optics.
According to an interview by DPPReview of Masaya Maeda, Managing Director of Canon Products, the Japanese company is implementing a plan to develop the Canon M system, but it also came to light that it is dedicating more time and money to developing its reflex line for the mirrorless cameras expected to be a step forward for Canon.
No, for now Canon hasn’t yet made cameras that can see the future. The Japanese firm simply sees its future very clearly according to the DPPReview interview, in which Masaya Maeda, Managing Director of Canon Products, affirms that the Canon M system is the future of professional Canon products and that the firm has invested considerable effort in developing its mirrorless products. But what we’re asking ourselves is: "Where are those advances?"
Much has been said about the new versions of this popular action camera. The GoPro HERO4 will come in two versions, Black and Silver, and with some features in high demand among its prospective users like the touchscreen or 4K video at 30 frames per second.
Fans of these cameras will have to choose between one of the two models, given that not all features will be present on both. The GoPro HERO4 Black will have 4K recording at 30 frames per second while the Silver will have a touchscreen, a first among this range of cameras.
GoPro HERO4 Black
This model, called "the most advanced GoPro ever created" features a processor twice as powerful as its previous versions, which allows for improved image quality. On the GoPro HERO3, video recording is limited to 4K with 15 frames per second, improved in this new version to 30.
Comparing the APS-C sensor from the Fuji X-T1 versus the full frame Nikon DF may seem like a losing battle. A camera twice as heavy and expensive should beat the X-T1 in all sections except in portability and the damage to the pocketbook. However, the editor of the blog Soundimageplus David Taylor-Hugues has not hesitated to compare both cameras in a of high ISO battle.
Nikon DF vs Fuji X-T1: ISO 3200
Nikon DF vs Fuji X-T1: ISO 6400
Above is one of the clips detailing 100% of the comparison, a total of three: A ISO 3200, ISO 6400 and ISO 25600, JPEGs direct from the camera. With the Nikon DF they used a Nikon AF-S 24-85mm, 3.5-4G ED VR versus a Fujinon XF 18-55mm f / 2.8-4 R LM OIS from the Fuji X-T1. Both lenses had a fixed aperture set to f/4. You can see the rest of the examples on the Soundimageplus webpage.
Nikon DF vs Fuji X-T1: ISO 25600
The author of the test is clear: the Nikon DF has more detail in each of the examples but the excellent results of the X-T1 are surprising. To the extent that they claim to be "the best high quality ISO images" he has seen in a APS-C format camera.
Even then, they note the different "interpretation" of the ISO values of Fuji vs. Nikon: approximately half past exposure for the latter something that can quite distort some tests if not taken into account.
In conclusion, consider the Fuji X-T1 can be used perfectly for as a "workhorse" professional for any task. In his opinion, you would have to look very carefully to "see significant differences" in prints images at high ISO from Nikon DF and Fuji X DF-T1.
For many amateur photographers when they talk about high quality bridge cameras it means they are talking about Panasonic. For years, the FZ series has become a favorite among users looking for a superzoom device which’s size merit its price. The key of the new Panasonic Lumix FZ1000 is the qualitative leap in its sensor, now converts it to an authentic all-terrain camera in photography.
The debate between about the bridge and the low-end SLR is hot and do not lack people who are for or against the manufacturers who decide to occupy this "no man’s land." In its day, we published a special to help users decide whether it is worth to buy a bridge or jump directly to SLR, but innovations like the protagonist of our analysis can change our minds.
A couple of years ago, the remarkable Lumix DMC-FZ200 convinced even the most critical of the bridge, a sure bet that is still accepted among the general public for the attractive possibility of getting a long zoom for an adjusted price. The new FZ1000 retains the excellent inch sensor and 20 megapixels, with the zoom being 25-400 mm along f2.8-8.4, and offer spectacular results.
If Canon updates its EOS 7D Mark II in the PhotoKina, Nikon wasn’t going to do less and present the evolution of their DSLR for advanced fans; the Nikon D750.
Situated mid-road between the D610 and the D810 (just on the border between the amateur and professional cameras), the D750 ups the stakes in many fronts. Fist, the resolution of the new CMOS sensor that now reaches the 24 MPx in FX (Full Frame) format and an ISO sensibility of 100-12,800 – and forced, up to 51,200-.