Today is a very sad day in our photographic community – Michael Reichmann, the founder of one of my all-time favorite sites “Luminous Landscape“, passed away late last night after an extended battle with cancer. He was 71. Although I never had a chance to meet Michael in person, I always hoped that one day our paths would cross, since he has always been such a huge inspiration. A great teacher, an amazing photographer and from what I had heard from others, a very warm, kind and funny person. I learned so much from Luminous Landscape and the articles that Michael and his team put out on the site, and I have always recommended the site to our readers as one of the best sources on the Internet on landscape photography.
I recently spent some time looking at CIPA data and wrote a few articles on my blog pertaining to these camera industry statistics. I thought Photography Life readers may find some of the data of interest. What follows are a few thoughts about the camera market, based on my interpretation of CIPA data. It should be noted that data is simply data and two people can look at the same information and arrive at differing interpretations. For folks who find the data of interest you can pop over to my blog to read a bit more. If you want to see the actual data reports I would encourage you to visit the CIPA website and access the data directly…then put on a pot of coffee, grab a calculator or open up Excel on your computer…and have some fun!
Lost in all the recent excitement of the Nikon D5/Nikon D500/Canon 1DXMkII/Pentax K-1/Sony a6300 and Fuji X-Pro 2 announcements was Nikon announcement of their new DL “premium compact” camera line-up. The DL line-up consists of three models all sporting fixed lenses, 1.0” 20.8 megapixel sensors and the new EXPEED 6A processor. The Nikon DL18-50 ($850) with its 18-50mm equivalent lens is there to tempt the landscape and architecture shooters. Street ‘togs and all-rounders are offered the DL24-85 ($650) with a 24-85mm equivalent lens. For nature and wildlife buffs the DL24-500 ($1000) sports a 21x superzoom 24-500mm equivalent lens.
One of the most exciting news from today is Sigma’s announcement of the 50-100mm f/1.8 DC HSM Art lens designed for APS-C sensor cameras like the Nikon D500. That’s another f/1.8 constant aperture zoom lens from Sigma with a groundbreaking design! With an equivalent field of view of 75-150mm, this lens will surely be a popular choice among sports and portrait photographers, especially when working in low-light situations. Thanks to the complex optical design that incorporates 21 elements in 15 groups, the Sigma 50-100mm f/1.8 DC HSM Art is optimized to yield excellent sharpness at its widest aperture throughout its zoom range. And with its MSRP of $1,099, this looks like a killer offering for cropped sensor cameras. The only downside is its weight – at 1,490 g (3.28 lb), the lens is almost as heavy as the Nikon 70-200mm f/2.8G VR II! But what did you expect from a constant aperture f/1.8 telephoto zoom lens?
Thanks to the CP+ Camera & Photo Imaging Show 2016 that is taking place in Japan this week, we have a slew of exciting announcements from different camera manufacturers. Tamron was the first to make a big announcement last night, presenting two brand new lenses designed for full-frame cameras. The first one is a significant release, because it is world’s first image stabilized 85mm f/1.8 lens for full-frame DSLRs, the Tamron SP 85mm f/1.8 Di VC USD. This is an important release, because Tamron is now upping its game like Sigma has done with its latest-generation lenses, allowing both lens firmware and AF fine tuning to be performed using an external USB dock.
Canon has just announced its long-awaited update for the existing EOS 70D, the Canon EOS 80D. With a brand new 24.2 MP APS-C sensor, 45-point AF system, built-in Wi-Fi, updated Dual Pixel AF for live view shooting and improved HD video recording features, the 80D seems like a fairly solid incremental update to the popular camera line. While it is not by any means a significant upgrade, there are some important updates that might be worth moving up to, especially for sports and wildlife photographers. The new 45-point AF system with all cross-type focus points is a huge upgrade from the previous-generation AF system on the 70D (which only had 19 AF points), not only because of the bigger number of focus points, but also because of the much larger spread of those focus points in the viewfinder. Additionally, the center focus point on the 80D is now of dual cross-type and sensitive down to -3 EV, which should allow the camera to focus in very low-light environments. The camera will be available sometime in March for an MSRP of $1,199 for the body-only version.
Today is a big day for Pentax fans, because the company has finally announced its much anticipated full-frame DSLR, the Pentax K-1. Featuring a 36.4 MP CMOS sensor with a native ISO range of 100-204,800, PRIME IV Image Processor, 5-axis in-body image stabilization (IBIS), 33-point AF system, 3.2″ Cross-Tilt LCD, 4.5 fps continuous shooting, built-in Wi-Fi, built-in GPS, dual SD card slots, a fully weather sealed magnesium alloy body, full HD video recording and a few other extra features like AstroTracer, the K-1 looks like a tool that packs practically every feature a DSLR shooter could think of. And the best part isn’t even the list of features – it is the price! At $1,799, the Pentax K-1 is the cheapest professional-grade DSLR ever made; even Nikon’s entry-level full-frame DSLR, the Nikon D610, had an MSRP of $1,999 when it was launched. Pentax users have every reason to rejoice, because the K-1 is without a doubt, the most feature-rich and value-driven DSLR we have seen to date…
Along with the A6300 mirrorless camera, Sony today also announced three professional-grade lenses for the full-frame FE mount, the Sony FE 85mm f/1.4 GM, Sony FE 24-70mm f/2.8 GM and Sony FE 70-200mm f/2.8 GM OSS and two 1.4x and 2.0x teleconverters. Because of the premium nature of these lenses, Sony gave these lenses a new “G Master” (GM) label; which is basically one step above the current “G Series” lenses. All these lenses are fully designed by Sony engineers, have advanced optical formulas, coating technologies and other advancements that are designed specifically for Sony’s A7-series full-frame cameras, and as a result, also have rather steep price tags. Since many DSLR shooters have been staying away from the Sony full-frame mirrorless line due to the absence of truly professional f/1.4 and f/2.8 lenses, Sony decided to address that gap with the GM-series lenses. Looks like this is the first step and more GM lenses will follow in the future. Let’s take a look at these lenses in more detail and see what they have to offer.