I’ve just come across this product from a company I had not heard of before; the Edelkrone Pocket Rig and I am mightily impressed by it’s design and apparent functionality. Sadly I have not used this nor seen it for real, but it strikes me absolute genius!
Posted in Camera Equipment, Video, viewpoint
Tagged dslr, edelkrone, pocket rig, rig, video
For this video I used the C300 PL, which as it’s name suggests, has the PL mount. During the shoot I used the RED 50mm and 85mm PL lenses. Lighting was by two LED panels with the main light coming from a Kino Flo Diva-Lite. I also had the pleasure of trying out a Miller tripod for the first time and must say, I was rather impressed. All equipment was supplied by New Day Pictures (whom I highly recommend for any video, lighting and accessory rentals).
An ungraded, straight from the C300 stills capture, using Quicktime. The colourspace on the camera was set to EOS for this clip. Image: Edmond Terakopian
Firstly, I need to clarify that the C300 was a pre-production model; having said this, it performed flawlessly. Having never seen, let alone used this camera, after a few minutes of training by Canon’s staff at the event I was ready to shoot. It’s an amazingly simple camera to get to grips with with a clear menu system and extremely clearly market keys dotted around the camera; I found it ergonomically brilliant. A very comfortable camera to hold and use. I was also surprised that it was lighter than I anticipated. For any prolonged handheld use though, I would probably suggest a shoulder rig. All the shots in their short film where done on the Miller tripod. My only disappointment was the microphone holder needed a spacer and so I couldn’t use my trusty Rode NTG3 to test out the camera’s audio abilities.
Vick Blatchley with the EF mount version of the Canon C300. This image is a screengrab from a Canon C300 video file. Photo: Edmond Terakopian
After the first shoot, I was impressed by the camera but was extremely keen to see what the footage looked like on the editing station. Once the files were transcoded from MXF files to Pro Res 422 (using the free Canon XF FCP plugin) we looked at them in FCP 7. Straight out the camera the files were amazingly lush. Full of detail, vivid with accurate colours and pin sharp. The most astonishing aspect was the dynamic range; the camera has it’s widest range at 850 ISO. Not only was this apparent in all the extreme highlight and shadow detail, but equally apparent was just how clean the files looked. This camera is the available light shooters’ dream. Along with it’s built in optical ND filters, shooting to achieve maximum dynamic range in outdoor situations is going to be a walk in the park. In use, the fold out LCD monitor was an absolute joy to use. For handheld use, the built in viewfinder makes things more comfortable, taking on the form factor of a DSLR and providing another point of contact to steady the shot.
Using the Canon C300 at the NDP open day event. Photo ©
For my edit here, I used FCP 7 and the Canon XF plugin to transcode the files and imported them into FCP X for my edit. Initial grading was done in FCP X and finished off using Magic Bullet Mojo. This workflow is a bit annoying (and is the first time I have used FCP7 since upgrading to FCP X) but I’m guessing it’s only a matter of time until there’s full compatibility).
My half day with the camera was an absolute joy. My nervousness at perhaps jumping in at the deep end having to produce footage on a brand new camera were unfounded. I took to it like it was a familiar piece of kit. Judging by how well it performed (running for around six hours solid) and how amazing the footage looks, I wouldn’t hesitate in recommending the C300. The only snag is the £10,000+VAT asking price. If I find my video work increasing as it has done over the last few years, I won’t hesitate in getting one of these, but until then, alas it will remain out of reach. So far, it is the most capable video camera I have worked on, and that includes the RED One and my beloved Canon 5D MkII. In fact, why not rent one from the folks at New Day Pictures and see what the fuss is about!
Posted in Camera Equipment, Film, Video, viewpoint
Tagged c300, c300 PL, canon c300, fcp x, hands on, magic bullet, PL Mount, preview, review, video
Fujifilm’s new X-Pro1 certainly looks like a very interesting camera. Very much looking forward to seeing what this camera can produce. I applaud Fujifilm on bringing out a large sensor, interchangeable lens camera with an optical finder; this is something I have been begging for from other manufacturers, way before Micro 4/3 or the Leica M9 were even announced.
As photographers we are now beginning to get what we want. There is a misconception amongst most camera manufacturers that pro photographers and serious enthusiasts want large, heavy, professional looking equipment with huge lenses-not true camera designers, please take note! Another issue I personally have is with mega complex menu systems that get in the way of photography; pro photographers we may be, but camera engineers we are not. It’s all about the photography, so please take a leaf out of Leica’s book and create simple, elegant menus which don’t need a manual and an entire day to try and understand.
It’s wonderful to see these small new cameras going back in time for their inspiration; Leica first came up with the 35mm format and designed small, mirror less cameras going back to the original Ur-Leica, the screw mount interchangeable lens Leicas that followed and all the way to the current Leica M9. What’s wonderful is to hear that Fujifilm is producing a Leica M lens adapter for the X-Pro1 and the acknowledgement of just how good Leica lenses are. It remains to be seen how good the sensor is though, but the X-Pro1 may perform well as a second or third camera, or backup, to a Leica M9. Naturally as it has a cropped sensor, it will magnify the focal length of any lens attached.
What also made me smile was the way the short distance between the rear element on the lens and the sensor was described as producing better quality; it is naturally all true, but again, goes back in time to the original Leica. This is all great news for the photographer though. Image quality and performance is yet to be seen, but judging by their achievements on the X100, I’m sure Fujifilm have done a good job with the X-Pro1.
Addendum:
Dpreview have published their preview on the X-Pro1.
Posted in Camera Equipment, Video, viewpoint
A pre-production Canon EOS 1DX. Photo: Edmond Terakopian
I’m fortunate to have had two opportunities to try out the new Canon EOS 1DX in private (thanks to Canon Europe for organising this) during the Pro Photo Solutions show earlier this week.
I need to firstly make it clear that as this was a pre-production camera, I wasn’t allowed to use my own CF cards for evaluating the images or video (which is fair enough as by the time the camera is released in March 2012, the firmware will have gone through several changes).
What I did get to do was try the camera fully, for both stills and video (checking results on the rear LCD screen), check out the completely redesigned menu system and chat at length with the extremely knowledgeable Graham Smith and Mike Burnhill from Canon.
I must say that I’m very impressed with this flagship camera. It carries on the 1D line and is a rugged workhorse of a machine which has been designed to be even more durable than it’s previous versions (I once stood in torrential rain on assignment for around 6 solid hours with a couple of Canon 1D MkII cameras and ‘L’ lenses. Although my Berghaus Gortex jacket leaked, the cameras carried on working perfectly and never gave any problems).
It’s fantastic having a full frame and fast drive camera, all in one. The 12 fps is just astonishing as is using the 14 fps (with mirror lock up – all of this at 18 megapixels). It’s something I have wished for, for years! The controls on the camera are new, with quite a few being fully programmable. The design and placement for all of these is pretty much spot on (the only problematic one perhaps being having the magnify button which is set low down, below the screen – perfect for reviewing stills, but is a problem for when shooting video and wanting to check focus beforehand (initially spotted by Dan Chung, with whom I’m in full agreement) – I’m sure by launch perhaps one of the more convenient buttons can be programmed via firmware to act as magnify if needed for video).
Shooting up to 51,200 ISO was just astonishing; extremely clean with accurate looking colours. Magnifying in to 100% on an 8000 ISO image made me double take as it looked clean enough to have been a 100 ISO shot! Absolutely amazing. I need to remind readers again though, these were all judged on a pre-production camera using the rear LCD screen.
The AF system is completely new and feels very responsive. The new modes and selection methods with overrides certainly impress.
Another hugely impressive fact is for video shooting the camera has a better file system and no longer drops lines when down sampling to HD. Another massively important addition is adjustable audio meters which display during shooting. Canon have stopped just short by not including a headphone jack. If the AV out port can stream during recording, then perhaps a headphone adapter could be fitted to monitor audio? Who knows!
As far as is the Canon EOS 1DX perfect, we shall have to wait and see. November 3rd is due to see a video product announcement by the company and the rumour sites are buzzing with the launch of the 5D MkIII some time next year.
This certainly seems like a perfect DSLR. Personally, I’d love (as would every single one of my colleagues) a lighter pro body, with a removable grip. Apart from this gripe, it really is an impressive DSLR and ticks almost every box. I can’t wait to test it out properly and see what it’s capable of, both in terms of stills and for video.
Posted in Camera Equipment, News, Photography, Review, viewpoint
Comparison of current Leica 50mm lenses. Cheapest and smallest to the most expensive and fastest. L-R: 50 mm f/2.5 Summarit-M, 50 mm f/2 Summicron-M, 50 mm f/1.4 Summilux-M and 50 mm f/0.95 Noctilux-M, in front of a Leica M9 (Steel Grey). April 01, 2011. Photo: Edmond Terakopian
No other manufacturer offers as many 50mm lenses as Leica does for its M range. In the current line-up are four; the f2.5 Summarit, f2 Summicron, f1.4 Summilux and the f0.95 Noctilux. Along with 35mm, 50mm is the classic rangefinder focal length, so it comes as no surprise to find this many 50mm lenses available. Apart from purely the light gathering properties of them, each adds a unique signature to the image it creates; non more so than Leica’s Noctilux.
Comparison of current Leica 50mm lenses. Cheapest and smallest to the most expensive and fastest. L-R: 50 mm f/2.5 Summarit-M, 50 mm f/2 Summicron-M, 50 mm f/1.4 Summilux-M, 50 mm f/0.95 Noctilux-M and for size comparison a Canon EF 50mm f/1.2L USM lens. April 01, 2011. Photo: Edmond Terakopian
The Noctilux, meaning “Light of the night”, started in 1966 with an f1.2 version designed by Helmut Marx. A new design by Dr Walter Mandler in 1976 pushed the aperture to an astonishing f1.0 and along with redesigns of the lens body resulting in four versions, the f1.0 Noctilux continued until it was replaced in 2008 by the current f0.95 Aspherical Noctilux designed by Peter Karbe.
Comparison of current Leica 50mm lenses. The Leica 50 mm f/0.95 Noctilux-M and for size comparison a Canon EF 50mm f/1.2L USM lens. April 01, 2011. Photo: Edmond Terakopian
According to Stefan Daniel, Leica’s Director for Product Management, “the Noctilux 0.95/50 is one of the most demanding lenses currently in production and we can only assign production and assembly to the most experienced and skilled people in the whole company”. It is also the most expensive lens in the M and S range, costing £7348.00. It may therefor come as a bit of a surprise when one learns that it’s also one of the most in demand lenses with the longest waiting list (an honour it shares with the 35mm f1.4 Summilux-ASPH). According to the Leica Store Mayfair, one can expect up to a 12 month wait from the point of order.
English countryside, around Royston, Hertfordshire. June 13,2011. Photo: Edmond Terakopian
Although the lens itself takes 16 hours to assemble by hand, it’s the raw materials and optics, some of which have a rumoured 12 month period to cool from being cast, which add to the length of time required. There is some very exotic glass used in this lens.
Shot wide open at f0.95, using a B+W ND filter to lower the exposure and allow shooting in this way during daylight. English countryside, around Royston, Hertfordshire. June 13,2011. Photo: Edmond Terakopian
For the seeker of a Noctilux, there is the opportunity to look for one of the older f1.0 versions, which depending on model and condition seem to range in the £3-5000.00 on the used market, saving money and time. Although the f1.0 versions are fast and will allow similar use in low light, all but the current f0.95 version have a smooth. soft and “glowy” signature look when shot wide open. It’s a beautiful look that works extremely well for certain types of portrait and still life, but not suitable for everything. This limits it’s use as an every day lens and makes it a special use lens, meaning one needs a standard 50mm as well. The same is definitely not true of the current f0.95 ASPH Noctilux which not only allows photography in even lower light, but does so with such pin sharp precision that it makes the lens suitable for everything. It is in fact a superb standard lens.
Portrait of Armenian singer Charles Aznavour in his suite at the Ritz Carlton Hotel in New York, NY, USA, ahead of an event by the Fund For Armenian Relief (FAR); 20 Years Of Armenian Independence Honoring Mr Aznavour. May 20, 2011. Photo: Edmond Terakopian
In the days of shooting film, the Noctilux opened up possibilities with shooting in low light that would have been impossible, even with an f1.4 lens. However, in the days of digital, this isn’t as big a problem as one can, up to a limit, just push up the ISO. There is more to choosing a Noctilux though and I would suggest that more people choose it now days for it’s signature look than they do purely for it’s speed in low light photography.
New York Fire Department (NYFD) answer a call on the streets of New York. New York, NY. May 19, 2011. Photo: Edmond Terakopian
Apart from it’s cost, another aspect which sets it apart from the other Leica M 50mm lenses is it’s size. The Leica shooter is generally used to tiny lenses. However, to any SLR shooter, the f0.95 can actually seem small compared to the f2.8 zooms and compares favourably in size to Canon’s 50mm f1.2L lens; currently the fastest 50mm lens available for the SLR market.
In Use
Along with my M9, 21mm, 35mm and 90mm M lenses, I took the Noctilux on a four day assignment to Glasgow. The Noctilux turned out to be by far my favourite lens to work with and apart from three occasions, I came to realise that I had shot the entire assignment on it and I must say that the results looked rather special.
British street party on Enfield Road and the Lord Nelson pub, Brentford, Middlesex on the occasion of the Royal Wedding of Prince William to Catherine Middleton at Westminster Abbey on April 29, 2011 in London, England. Sisters in wedding dresses watch the wedding on a TV inside the pub. Friday, April 29, 2011. Photo: Edmond Terakopian
It takes a short while to get used to it’s size on an M camera. It’s so well made though with such a beautifully buttery focus movement that it just comes to hand very quickly indeed. One thing that constantly surprised me early on was just how little light I needed to make pictures. I was constantly taking down the ASA and in other situations where I thought I needed a flash, I kept realising that the available light was more than enough.
British street party on Enfield Road and the Lord Nelson pub, Brentford, Middlesex on the occasion of the Royal Wedding of Prince William to Catherine Middleton at Westminster Abbey on April 29, 2011 in London, England. A young girl in a wedding dress watches the wedding on a TV inside the pub. Friday, April 29, 2011. Photo: Edmond Terakopian
I have worked extensively with the 50mm Summicron and 50mm Elmarit-M f2.8. Both amazing lenses with great image rendition. However, nothing I have shot with, including Leica’s discontinued 75mm Summilux f1.4 or Canon’s 85mm f1.2L II, produce images like the Noctilux. The Noctilux’s images just pop. Your point of focus is pin sharp and rendered perfectly. Shot wide open the background blur is phenomenal and absolutely unique. Even Zeiss, which is known for its background rendition, can come close to how this lens renders.
A passer by reads the plaque by The Force of Nature II, sculpture by Lorenzo Quinn, Berkeley Square, London. March 03, 2011. Photo: Edmond Terakopian
It’s not all roses though. This lens is challenging to work with at f0.95. The depth of field is practically non-existent and one has to be absolutely spot on with focus. It’s therefor a good idea to send your Leica rangefinder back to Solms with your Noctilux to have them calibrated to match perfectly. Leica products are very accurately calibrated to within tiny tolerance margins; however, shooting at f0.95, all it takes is for the camera to be plus in the tolerance range and for the lens to be minus in the tolerance range and the image is slightly out of focus. This is an absolute must as otherwise one would just give up on the lens, judging it too challenging to work with. A big mistake, as the magic of the lens will then remain undiscovered.
Also, when at f0.95, strongly backlit subjects do sometimes suffer from purple fringing and in these situations it’s best to stop down a little.
Conclusions
The Leica rangefinder has always been a favourite with photographers who like to work with available light. The lack of a reflex mirror means that it’s much easier to hand hold at slower shutter speeds. With this ethos in mind and the fact that the f0.95 is by far the fastest lens currently available on the market for any full frame camera, it makes absolute sense to have it’s abilities. It creates beautiful images with a amazingly soft and fluid bokeh (out of focus detail rendition) that its makes your subject pop; it gives more dimension and depth to every picture. I’ve even heard people commenting on the pictures it creates as being 3D.
Shots around the book sellers on London's Southbank. July 22, 2011. Photo: Edmond Terakopian
Is it worth the asking price? Perhaps not for some photographers, as you could buy an M9 and a 50mm f1.4 Summilux-M ASPH for a fraction more. However, in a world where everyone shoots with the same equipment, with a sea of 24-70s, firstly the Leica M9 and any Leica lens will set your work apart. The Noctilux then takes this much further and makes it unique. It’s good to be an individual.
To view more images, visit my Leica Noctilux set on Flickr. This article was first published in the BJP in June 2011.
Posted in Camera Equipment, Leica, Photography, Review, viewpoint
I hope that I’m doing justice to these magnificent optics; you can see some work in my Noctilux gallery and also this one for my Leica M9.
Posted in Camera Equipment, Leica, Photography
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