New Nikkor 50mm f1.4 Marks A New Approach

Nikon have just announced a new AF-S Nikkor 50mm f1.4G lens.

The great thing about this lens (apart from the improvements they have made optically) is the fact that its the first non super telephoto prime lens with a built in focusing motor. Lets hope that this is the first of many shorter prime lenses coming from Nikon. This opens up the possibility of using primes for faster moving assignments (the older primes relied on focusing being driven by a motor built in to the body; this resulted in slower and noisier focusing).

Hands On with the 5D MkII, G10 & 24mm f1.4L MkII

A day after the announcements I was fortunate enough to be one of the few invited by Canon to check out the new additions. Before I continue, its important to point out that all of the equipment was pre-production and as experience has shown in the past, final production products are much more polished in both performance and quality terms.


I headed straight for the 5D MkII. This camera has huge shoes to fill as the 5D has without a doubt been responsible for being revolutionary in the digital SLR market. I’m happy to announce that it most definitely doesn’t disappoint.

The camera has a familiar feel to it; anyone who has a 5D will feel right at home. It does feel better in the hand though. It has a tougher feel to it and the fact that its weather sealed  will add to the usability of this camera.

The focusing system, although the same as the 5D, has a new processor, the Digic 4 and a new algorithm; although I didn’t put it to a proper side by side test, it certainly felt faster than the 5D.

On paper, the camera has a 0.9 fps faster motor drive (in fact, compared to the way fps used to be calculated, its 4fps, but as this system has now changed, Canon have had to call it 3.9fps!). Although I definitely would’ve preferred 5 or 6fps, its still quick enough for the kind of work its aimed at.


Alas the control dial still doesn’t have a lock on it. Although the dial’s quite stiff and clicks round with a reassuring resistance, I’m sure like the 5D, in a situation where you’re running around or stuck in a rush in the middle of a riot, the dial will again move. Whilst addressing disappointments, its a shame that there is a dedicated button on the back of the camera for “Picture Styles”! How many people use this?! Mine are always set to neutral and remain this way. This button should have been programmed as a lock to protect / tag chosen images. Hopefully this can be changed with a future firmware upgrade.


The two big headline features for me are the high ASA range and the video recording abilities of the camera. I shot a load of images with the pre-production camera and it really is very impressive. As non of the RAW converters can yet convert the to be released camera’s files, I was shooting jpegs. The quality of the images (both in terms of colour accuracy, detail and image noise) was stunning at 3200 ASA. Even at 6400 ASA the images are crisp and beautiful. I wouldn’t hesitate in using this camera at this high sensitivity settings. The camera doesn’t disappoint as you get higher either; it produces results that weren’t even imaginable until Nikon brought out the D3. Talking of which, side by side tests shown by Canon at 25,600 ASA showed the 5D MkII producing a more detailed, crisper and less noisy image. Astonishing!


The video recording aspect is equally mind blowing. Canon had several movies shot on the camera playing at full 1080P HD on 42” flat screen TVs; the quality is absolutely out of this world. Just think of the possibilities; you can use your full range of SLR lenses and shoot with minimum depth of field – even in wide angle. It just opens up so many creative possibilities. Also, you no longer need to invest in and carry more equipment; its all there in your bag. Just add an external microphone (for better sound recordings). Also do remember not to hold the camera in an upright position!

The camera has a newer battery which I guess was changed to be able to handle the extra power needed for video. There’s also a new grip and most interestingly another grip with built in WiFi.



Around half the shots I took with the 5D MkII were with the new 24mm f1.4L MkII. I had the original version of this lens and must admit that I was never a big fan. On my 1DS MkII or 5D it just didn’t produce great results. However, this version is mind blowingly good; absolutely pin sharp, great colour and resolving ability. Also, somehow, at f1.4 there seems to be less depth of field than I remember getting with my lens – brilliant!



Now onto the G10 – the new compact camera that I envisage will be draped off every photographers’ shoulder! 

The body design is superb; its as tough as the G9, but is chunkier with a better grip and a bigger optical viewfinder (I wear spectacles and could look through it with ease). They have introduced an exposure compensation dial to the left and the ISO and mode dials are on top of each other and on the right – very neat!


Also the long needed 28mm wide end is finally here! I took a load of shots with this camera too (again, on jpeg) and I’m very impressed. The images are crisp, detailed and have great and accurate colour, even on auto white balance. The camera produced better results than the G9 up to 400 ASA and much better results at 800 and 1600 ASA. It has a new high ASA noise filtration system which actually works really well and doesn’t soften the image in any way. This is the first time in my career where I’ve actually enthused about this kind of system, as they never work.

Canon have also improved on the exposure metering; the G9 always had the tendency to over expose (mine’s permanently got -0.3 dialed in). The G10’s exposure was spot on.

I absolutely rate this little camera – definitely get one folks!


All said and done, the day did end with disappointment; I now need to somehow find a way to pay for a couple of 5D MkII bodies, a G10 and quite possibly the 24mm f1.4L MkII too!!


Addendum 1:  I now have a full production model which I’m reviewing for a magazine – check HERE for more on the camera.


Addendum 2: For my short film shot with a 5D MkII, please check THIS post.


Addendum 3: FULL REVIEW of Canon 5D MkII: Part 01 and Part 02

The New Canon G10


Visa Pour L’Image in Perpignan was at one time the place where you would see the largest number of Leica rangefinders in one place; it was the camera most photojournalists had hanging off their shoulders or around their necks. This year however, the one camera everyone had was the Canon G9.

Well, its been replaced by the G10. At long last this has 28mm on the wide end, and zooms to 140mm. The body design looks even sturdier and now has a dial for exposure compensation, and a better grip. The sensor is 14.7 Megapixels and produces more shadow area detail.

Canon Announce 5D MkII


Canon today announced the new 5D MkII. Two things which caught me by surprise are the 21.1 Megapixel sensor (I thought it would be in the 16 Megapixel range) and a very welcome 1080 full HD video recording mode (with an input for an external microphone).


The original Canon 5D revolutionised digital photography by offering a compact body with a full frame sensor which produced stunning results, even in low light. They seem to have taken this formula and added what we all hoped for to it. The new camera has a faster drive, a new focusing system and is weather sealed.


Press Release:

05.00am 17th September 2008 – Canon redefines the future of photography with the announcement of the photo industries most anticipated Digital SLRs, the EOS 5D Mark II. 

The EOS 5D set the benchmark for image quality, low noise at high ISO and was the first affordable full frame sensor camera. The EOS 5D Mark II sets new presidents for image quality, high ISO performance and operation for the most demanding user and added enhanced functionality.
 

This is the 1st DSLR camera with a Full 1080 High Definition movie recording.


Features of the EOS 5D Mark II

–        21.1 Megapixel Full Frame Sensor
 
–        Expanded ISO Range of 50 – 25600 with new 4 level high ISO noise reduction
 
–        14 Bit image processing with DIGIC 4
 
–        3.9 Frames per second, up to approx. 78 large/fine JPEGS & approx. 13 RAW
 
–        3.0″ LCD screen with 930,000 pixels and dual anti-reflective coating with 170 degree viewing angle
 
–        Lens peripheral illumination correction, 26 lenses are preloaded on the camera with a total of 40 lenses available to be stored via EOS Utility
–        Auto light optimizer with the aid of Face Detection Technology automatically lightens and corrects dark areas of the image
 
–        Copyright information can now be added to the camera with EOS Utility
 
–        Full HD (1920×1080) and SD (640×480) video recording at 30fps
 (up to 29 minutes 59 seconds per clip)
–        HDMI Output
 
–        Enhanced “Live View” with Quick Mode phase detection, Contrast AF and Face Detect
 
–        Improved menu screens
 
–        External light sensor to automatically adjust LCD brightness
 
–        AF microadjustment, up to 20 lenses can be registered
 
–        Improved environmental protective seals
 
–        Highlight tone priority
 
–        Compatible with UDMA Mode 6 CF cards
 
–        Self cleaning sensor unit with dust delete data acquisition and florine coating on low pass filter for easier cleaning with blower
 

Also announced is a brand new and fully redesigned 24mm f1.4L MkII lens.

Righteous Kill UK Premiere 01

I tend not to do too many celebrity oriented things. Mainly because these days everyone’s a celebrity; talented or not, and also there are so many photographers and PRs, that the chances of getting a creative shot becomes next to impossible.
However, when AP asked if I’d like to cover the UK premiere of Robert De Niro and Al Pacino’s new film, I jumped at the opportunity. These gents are probably my favourite actors. They are truly talented and I’ve been hooked on their films for many years. I would love to photograph these gents properly in a one on one situation, but alas the situation has yet to present itself.
So, the next best thing, was a movie premiere. As I mentioned already, there are many issues in this environment. Far too many photographers being one of them (which results in too many screams to get “eye line” and practically no chance of directing the subject. On top of this, we’re all squashed into a pen like sardines and on ladders). I didn’t do a count, but in the photographers’ pen at the end of the red carpet there must have been at least 35. I was relatively lucky in getting a central spot on the second row, so my trusty step ladder came into play.
Alas, as De Niro and Pacino appeared, it all went wrong! Naturally they did the rounds signing autographs for the fans and then the line of ever increasing TV interviews. They kept criss-crossing in front of us (which gave an opportunity for a few “candid” frames, but nothing amazing as there were people in the way and messy backgrounds). Finally it was our turn. Whilst the PRs controlling the event had dutifully got several “celebrities” to pose for us, when it came to the reason most of us were there, they managed a group shot! This included De Niro and Pacino, but also “50 Cent” and the film’s director Jon Avnet. Whilst these are definitely pictures worth having, for me, the main picture was of Robert and Al. I kept thinking how hard could it be to have these gents walk down the red carpet towards the photographers? All they would need to do was walk ten meters whilst talking with each other and then do a minute or two’s worth of posing and working the line.
This simple thing wasn’t to happen though and a group shot was all we got. This is pretty typical though of these huge photo calls. Too many photographers, too much shouting, too many agents, carers and PRs. Luckily the situation was half saved when the actors appeared on the cinema’s balcony, first individually and then as a group.

Righteous Kill UK Premiere 02

Al Pacino waves to the crowd as he enters the cinema

My favourite shot from the day; Al Pacino makes
an appearance on the balcony of the cinema

…shortly followed by Robert De Niro