Unveiled: Canon Announces New Rebel

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By John R. Harris

Published: Tuesday, February 11, 2014 - 11:00pm

Snow is still on the ground here in the Northeast, but apparently it’s spring cleaning time at Canon. From entry-level to “tough” cameras to advanced point-and-shoots and even the great Rebel entry-level DSLR series, Canon is sweeping the table clean and upgrading many of their most popular cameras for 2014. They’ve even announced a new Macro Ring Flash for close-up photography with EF lenses.

EOS Rebel T5 DSLR

Let’s start with the now venerable Canon Rebel series of DSLRs. The EOS Rebel T5 DSLR with EF-S 18-55mm IS II lens is an update of the Rebel T3 and brings with it an 18MP CMOS sensor and the DIGIC 4 Image processor. As an APS-C format camera, compatible with Canon EF and EF-S lenses, it is an ideal compact DSLR for those beginning to take their photography seriously or those wanting the imaging power and versatility of a DSLR but in a more compact form. Incredibly, the Rebel T5 body weighs less than one pound and its small but ergonomic design features a large hand grip that makes it easy to carry and shoot.

Loaded with assistive features such as Scene Intelligent Auto, you can let the camera do the work and still expect optimal results. Furthermore, “Feature Guide,” an in-camera learning tool, offers short descriptions of shooting modes, settings and creative effects to help you understand your camera and its capabilities. For those looking to expand their skill set is Creative Auto mode, in which basic settings are on full automatic operation, but shooting guides on the LCD screen explain how to make changes to exposure, tone, sharpness, and more.
While its 63-zone, dual-layer metering system and comprehensive auto functions make it easy to capture balanced exposures, the T5  is still a full-fledged DSLR with manual exposure modes and RAW capture, including RAW + JPEG. It has a top plate dial and menu controls and provides a hot-shoe mount for attaching photo and video accessories and also supports a built-in flash for simplified yet powerful flash photography.
Low light sensitivity is impressive, with an ISO range that expands to 12800. The 9-point autofocus system, which includes one center cross-type AF point and AI Servo AF, is fast and accurate. A continuous shooting rate of 3 fps for up to 69 JPEG shots will help you capture fast-moving action and the Quick Control button enables fast adjustments. The Rebel series is known for its HD video capability and the T5 is no different. It supports full HD 1080p capture at 30 or 24 frames per second and, in HD 720p, it offers a 60 fps rate. A 3.0” TFT color LCD monitor with 460k-dot resolution enables live-view composition and playback and an optical viewfinder provides standard eye-level composition with exposure information displayed in the finder.
An important advantage of a Rebel DSLR over a mirrorless or point-and-shoot camera is its native compatibility with the full line of Canon EF and EF-S lenses. To get you started, this new T5 comes bundled with the EF-S 18-55mm f/3.5-5.6 IS II lens, which is a versatile and compact zoom lens with the 35mm/full-frame equivalence of 29-88mm for wide-angle through short telephoto perspectives. The lens is designed for the Rebel’s APS-C sensor and with one aspherical lens element, chromatic aberrations are reduced, and sharp, color-accurate images are the result. The optical image stabilization system provides up to four stops of compensation against camera shake to minimize blur when shooting in dim light.

Unveiled: New Sony FE 70-200mm f/4 G OSS Lens

With the release of the A7 and A7R, Sony will need lenses designed for these full-frame E-mount cameras and the FE 70-200mm f/4 G OSS lens is the first telephoto zoom lens to fill that bill. This is a high-performance telephoto zoom with a constant f/4 maximum aperture and impressive G lens optics, including advanced aspherical, Super ED, and ED glass elements for reduced aberrations and high-contrast, color-accurate imaging throughout the zoom range. Nano AR Coating limits reflections and prevents ghosting and flare and a truly circular 9-blade aperture creates smooth out-of-focus areas.

The dual linear motors support fast and precise autofocus along with features such as a focus hold button, focus range limiter, and a panning mode switch that provide enhanced control over autofocus operation. Optical SteadyShot image stabilization compensates against camera shake for clear images when shooting in dim light, at the long end of its telephoto range or anytime slower shutter speeds are used. Thanks to its internal focus system, the front optics do not extend when focusing or zooming, and the lens provides a compact metal build, weather-resistant sealing, and a removable, rotatable tripod mount.

Prime Lens 101

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By Joshua Kleiner

Published: Wednesday, November 20, 2013 - 11:07am

Whether shooting a DSLR or mirrorless camera, interchangeable-lens cameras significantly broaden the photographer’s range of creative possibilities. There’s a good chance that the kit lens included with your camera was a zoom lens that offers a zoom range suitable for most of your initial photographic pursuits. A fixed focal length camera lens, or "prime" lens, offers a great way to improve the quality of your images while helping to develop your eye as a photographer. Now that you’re looking to take your imaging capability to the next level, here’s a brief guide to finding a prime lens that’s right for you.

Prime versus Zoom

Compared to a prime lens, a zoom lens is a general purpose multi-tool that won’t cut it when it comes to tasks requiring surgical precision. Think of a zoom lens as a Swiss Army knife and a prime lens as a scalpel. Prime lenses are capable of image quality and durability well beyond variable focal length lenses. Element for element, a prime lens will outclass a comparable zoom lens every time. Fewer moving parts and a defined field of view allow manufacturers to craft an optical path that is optimized for a specific purpose. A prime lens is generally capable of wider maximum aperture and is less susceptible to optical aberrations like color fringing and soft focus at the edge of the image.
The high-resolution sensors in today’s DSLRs and mirrorless cameras enable photographers to pack an impressive amount of detail into each frame—even an entry-level camera can capture HD video. A quality prime lens can provide tack-sharp detail and lifelike tonal range in recorded images.

Choosing a Focal Length

Obviously, choosing a suitable prime lens is largely based on its intended use. Since fixed focal length lenses lack the versatility of their zoom-lens counterparts. A prime lens will serve you well for specific applications and focal length is critical. The maximum aperture, minimum focus distance, quality of glass and optical coatings are important to consider regardless of focal length.

Keep in mind that the angle of view captured by any lens will change when it's mounted on a non-full-frame camera, like a DSLR with an APS-C sensor. A 35mm lens mounted on such a camera, with a 1.5x crop factor, for example, will have an equivalent focal length of 52.5mm. A longer focal length lens captures a smaller field of view. So a super-telephoto lens mounted on a non-full frame DSLR can yield a prohibitively narrow perspective. However, cropped-sensor shooters can benefit from a faster, wide-aperture lens, that will image super-telephoto distance usually thought to only be available to full-frame shooters—Nikon’s AF-S Nikkor 600mm f/4 ED VR AF lens or Canon’s EF 600mm f/4 IS II USM become 900mm mega-photo lenses ready to get up close and personal with sports and wildlife action.

Standard Lenses

Standard lenses have an angle of view close to 45°, replicating the perspective seen by our eyes. Although the quality and design of the optics determine its angle of view, the standard primes usually have a focal length between 40mm and 65mm. A favorite among photojournalists is the 50mm lens. Henri Cartier-Bresson, one of the most prominent photojournalists of the Twentieth Century and an icon for amateur and professional street photographers, famously used a 50mm lens almost exclusively. A standard focal length lens acts as “an extension of (the) eye” according to Bresson, permitting photographers to trap life in a frame that resembles the way we experience the world.
Like all lenses discussed in these sections, standard length lenses are available for DSLR and mirrorless camera formats. Canon’s EF 50mm f/1.4 USM lens is a budget-friendly standard focal length DSLR option for your first prime; its wide maximum aperture can capture photos or video in low-light situations.

Telephoto Lenses

Telephoto lenses are essential for portraiture as well as event photography like weddings, concerts, and sporting events. Telephotos have a lens group within their optical path to create an extended focus point that is longer than the overall lens design. In effect, telephoto optics allow photographers to image a subject at great distances using a relatively compact lens. These lenses generally have focal lengths greater than 80mm, but can also include shorter focal length pancake lenses featuring a telephoto lens design. Technically, not all lenses with a focal length more than 80mm qualify as a telephoto lens, but these lenses can have unwieldy lengths and tend to use outdated optical designs.
Two important factors to keep in mind with telephoto lenses is their maximum aperture and image stabilization technology. As the focal length of the lens increases, the challenge of transmitting light through the lens system also increases. Since the lens system has a narrower field of view from which to gather light, the diameter of each lens element must be increased to maintain an acceptable level of image brightness, which is why telephoto primes with a maximum aperture of f/4 or greater have large front lens elements and a corresponding increase in overall lens weight.
Additional size and weight, coupled with the narrow field of view, make image stabilization an essential feature of telephotos, especially once you exceed a focal length of 200mm. Lens manufacturers are aware of this limitation, which is why they equip their telephoto lenses with technology that provides several f-stops of image stabilization, allowing photographers to use their telephotos with slower shutter speeds and lower ISO camera settings.

Wide-Angle Lenses

At the opposite end of the focal-length spectrum are wide-angle lenses. The focal length of this type of lens is generally less than 40mm, which works well for landscape and architectural photography. When attached to APS-C or other non-full frame cameras, a wide-angle lens can have the equivalent focal length of a standard lens—something to keep in mind before purchasing a 35mm lens, which becomes 52.5mm when attached to a non-full frame camera with a 1.5x crop factor. For the most part, wide-angle lenses are a sensible general-purpose option for family vacations, backyard gatherings, and photojournalism.

Specialty Lenses

Included in the wide-angle category are fisheye lenses, usually a focal length less than 20mm. This type of specialty lens, Rokinon’s 8mm f/3.5 HD Fisheye Lens, for example, offers a unique perspective by capturing a surreal 180-degree angle of view—great for conveying the overall feeling of a location as opposed to the limited field of view of most lenses.
Macro lenses are another type of specialty lens that can give a larger-than-life quality to your photos and an especially unique perspective to videos. Macro lenses are available in various focal lengths, from wide angle to telephoto. A macro lens is uniquely equipped for close-ups, thanks to its short minimum focus distance and specially designed focus mechanisms optimized for fine focus adjustments. The Makro-Planar T* 100mm f/2 Lens from Zeiss is a standout example of everything a telephoto macro lens should be; it features the premium optics Zeiss is known for, and it delivers precise focus control required for exacting focus placement.

If still life and product photography, or extreme close-ups of blooming flowers and other natural beauties are subjects of your photographic interest, then a macro prime lens is uniquely suited to help achieve the best image quality possible.

Hands-On Review: the Nikon D5300

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By Eric Reichbaum

Published: Wednesday, November 20, 2013 - 6:31pm

I shoot primarily with a D7000, which isn’t a huge camera, but the Nikon D5300 seems significantly smaller; it's a comfortable camera that felt great in my hands. When you’re accustomed to handling a camera body daily, size differences are readily apparent—in fact, the first thing you notice about the D5300 is its size. It’s smaller and lighter than its predecessor, the D5200, and while it's reminiscent of the D40, my first DSLR, all I can say is, "Wow, how things have changed since then." Nikon has packed the D5300 with features that make it shoot like a much bigger camera. And—it has the same sturdy ergonomic grip as the heavier pro-level bodies, but it is so lightweight that it’s a joy to carry around.

The response to our recent announcement was overwhelming, so I decided to take the camera out for a hands-on review, and what I found was pleasantly surprising. As soon as you turn on the camera you won’t want to put it down. The LCD almost had me forgoing the optical viewfinder, which is normally my preferred method of composing. Measuring a respectable 3.2" with 1037k dots, it swivels, is very bright, and extremely intuitive. Using the menu to make adjustments is exceptionally user friendly, and if this is your first DSLR, the LCD on the D5300 may help you transition from your point-and-shoot to a camera that gives you more control over settings.
A simple press of the Info button and all of the necessary camera controls pop up on the LCD. With the easy-to-use multi-selector button, you can quickly navigate between ISO, white balance, autofocus, metering, and many other settings. The menu also has numerous features that simplify making camera adjustments. For example, when choosing the ISO, there are small images to illustrate examples of scenes for which each ISO speed is ideal: bright sunlight for the lower speeds and dark night scenes for the higher ones. This can really help you make informed decisions when choosing your settings in order to get the best shots.

Grand Central Clock

The 24.2MP sensor and EXPEED 4 image processor produce stunning images with incredible color rendering in both RAW and JPEG formats. The sensor is a DX-format APS-C CMOS sensor with a 1.5x crop factor. This means that a 50mm lens has the focal length equivalent angle of view of a 75mm lens in the 35mm format—a very serviceable focal length for portraiture. I felt completely confident shooting at ISO speeds up to 6400 without worrying about any noise issues. The expandable ISO range stretches all the way to 25600, a remarkably high ISO that will let you shoot in extremely dim environments. The focusing was blistering fast with my 50mm f/1.8 lens, thanks to the 39-point Multi-CAM 4800DX autofocus system, and shooting at 5 frames per second is plenty fast for almost all shooting situations.
If you are a “pixel-peeper” like me, and want the sharpest photos possible, this camera might be just what you’ve been looking for. One of the most anticipated features of the D5300 isn’t something added to the camera, but something that has been omitted: the optical low-pass filter. By removing this filter, the camera’s sensor is able to maximize the high resolution and high pixel count, allowing lenses to render sharper images.

Coin Operated Binoculars on the Empire State Building

Have you ever wished that you could upload your photos right from your camera to your smartphone or tablet? Well, the D5300 makes this possible. Two great features included on this camera that were unavailable on the D5300’s predecessors are Wi-Fi connectivity and GPS location tagging. Both features are built in, and allow you to share your images directly via social media, or store them in the cloud while simultaneously geo-tagging them. The fact that my images are backed up in the cloud gives me peace of mind, knowing that they are safe, even if I lose or damage my memory cards on the way home from a shoot.
If you shoot indoors or in other low-light environments, the built-in pop-up flash on top of the camera is a feature that you will definitely appreciate. It utilizes Nikon’s i-TTL flash metering system, which means that the camera reads the scene in front of the lens and adjusts the flash’s power accordingly. There is also a hot shoe right behind the pop-up flash so that you can attach a speed light for even more power and control over your lighting. Adding a speed light to the hot shoe also allows you to use it as a commander to control off-camera flashes, something the pop-up flash doesn’t do.

Grand Central Terminal

As if all of the features I’ve mentioned weren’t impressive enough, the D5300 has full HD 1080p video with full-time autofocus. Having the ability to not only shoot great images but also incredibly detailed high-definition video is a huge plus, and this camera does both very well. It focused extremely fast while I was shooting video—so fast in fact, that I continued to change my focal point just to make sure I wasn’t seeing things.
I love shooting videos at concerts, and the vari-angle LCD is indispensible when trying to shoot over people’s heads while still being able to see what it is I’m filming. It is also great for holding the camera down by the ground for low-angle shots, such as action shots of skateboarders. The screen rotates, allowing you to make sure that you’re in focus and in frame when taking self-portraits ("selfies") with an extended arm. An added bonus to having the swiveling screen is that it can flip over and be hidden from view, which will protect it from harm when it is not in use.

Stained Glass

For instant shooting during different situations, you can choose between16 different scene modes, such as the standard Portrait, Landscape, Child, Sports, and Close-up, as well as scenes such as Sunset, Candlelight, and Food. This takes a lot of the guesswork out of shooting, and the extensive array of built-in features will help you get the most out of your shooting experience. Choosing from these preset scenes will help the novice achieve better results, while more advanced shooters can move right on to shooting in aperture or shutter priority, and full manual modes.
If you’re a fan of Instagram and other smartphone photo apps that add filters to images, you will love the 9 special effects that you can choose from for in-camera editing, such as Toy-Camera, Selective Color, and HDR Painting. This is a great option if you’d like to apply filters to your photos, but aren’t sure about using post-processing software, or if you just want to save time.

Empire State Building

After a few days of shooting with the D5300, I can honestly say it was a breeze to use. The combination of a small, lightweight body with the form and function of a large DSLR was the perfect blend of form and function. It was so light to carry around that I never once thought about putting it back into my bag. I highly recommend it for anyone looking for either an upgrade from an older DSLR, or someone making their first foray into the DSLR market.

Cameras of the Year

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By Shawn C. Steiner

Published: Wednesday, November 20, 2013 - 6:28pm

Every year a series of "revolutionary" and "game-changing" cameras are released into the market. They included amazing high-resolution sensors, new professional-grade cameras, and slim new mirrorless designs in 2012. So what could possibly change in just one year?
A lot.

Hover over and click on the cameras below for more information:

To start, we saw a variety of new tech from Canon. They released the smallest DSLR to date with the SL1, which weighs only 13 ounces. It even has all the features you have come to expect from a Canon DSLR camera, including full HD video. It brings with it a Video Snapshot feature for automatically combining short clips into one longer video file.
But, the dual-pixel autofocus technology in their 70D was the biggest splash they made this year. The newly developed 20.2-megapixel sensor utilizes two photodiodes within each pixel for faster and more accurate contrast-detect focusing times. Or, for those not up to date on CMOS sensor terminology, it means faster and more accurate focusing in Live View and video modes.
Another more recent addition to Canon’s DSLRs can be seen in the 70D's Wi-Fi capabilities. This is showing up more and more on cameras as a built-in feature to allow for wireless control via smartphones and simple transmission of images across devices.
Other DSLR sensor development came with the Pentax K-3’s ability to turn on and off the anti-aliasing filter. They managed this by using micro vibrations of the sensor to blur the image just enough to create the effect of an actual anti-aliasing filter. But, when turned off, you can maximize the potential sharpness of your image.
Additional features of the K-3 include a revamped autofocus system with an impressive 25 cross-type sensors and durable body construction. Pentax makes their professional equipment with all-weather sealing, meaning that if you get caught out in the rain or snow you can be confident that your camera will work flawlessly.
Many would find it difficult to follow up a year with Nikon’s D4, D800, and D600 as well as Canon’s 1D C, 5D Mark III, and 6D. Manufacturers still tried to fill the appetites of camera enthusiasts with new cameras and tech. But, the real surprise came from Nikon’s announcement of a retro-styled camera.
They released the Nikon Df. With a body style evoking the spirit of the classic F-series and a full-frame CMOS sensor, Nikon is trying to appeal to those simply wanting “pure photography.” It features physical dials for settings like shutter speed and ISO and can use practically every Nikon F-mount lens, especially if you consider the metering coupling lever that allows you to use AI and non-AI lenses without any additional modification.
The Df is sure to attract those who shot with film cameras, or even those who still shoot film, to make the move to digital. And sure to please many enthusiasts, a screw-in port for using a manual release cable is available. This camera’s photography-only theme is stressed with the purposeful omission of video found on practically every digital camera today, even the common point-and-shoot.
On to point-and-shoots: they have been completely redesigned for the Instagram age. The square design of the Canon PowerShot N exemplifies this concept, along with featuring Wi-Fi connectivity for instantly syncing to our phones and posting pictures to our social media profiles. It can even send photos and video back to a computer at home or to an online photo album to share with friends and family at home.
But, speaking of camera designs, the QX-series camera modules from Sony take the cake. The QX10 and QX100 are powerful point-and-shoot cameras that clip onto your smartphone, using Wi-Fi or NFC connectivity to transform your phone into a full-featured digital camera.
Then, by connecting to your phone via a free Sony app, you can access live view and camera settings. However, you aren’t limited to simply attaching the camera to your phone; you can detach it and use it wirelessly to capture images above crowds or in tight spots in which you would never get the right perspective, normally.
Getting back to the standard form factor, Sony’s RX10 features the new BIONZ X image processor along with Wi-Fi and 1080p video at up to 60 frames per second—impressive specifications and video capabilities for a point-and-shoot. It wasn’t alone however; Sony released two other cameras using the BIONZ X image processor, the A7 and A7r.
These full-frame mirrorless interchangeable-lens cameras have 24- and 36-megapixel sensors, respectively. These maintain the image quality found in high-end DSLRs but with a compact form factor. Additionally, the A7r has a gapless on-chip lens design that better directs light across the entire sensor to each individual pixel and omits the low-pass filter for getting the maximum resolution possible out of the image.
On the other hand, the A7’s lower resolution sensor benefits from a “hybrid” contrast- and phase-detect focusing system. This means you will have faster, more reliable autofocusing. Regardless of which option you choose, these mirrorless cameras are perfect for constant travelers, or someone looking to carry a smaller gear bag for everyday use.
For adventurers who aren’t afraid to get a little dirty, the waterproof and shock-resistant Nikon 1 AW1 is perfect. It has superb weather-sealing and is waterproof up to 49.2’. The best part is that somehow, Nikon has endowed it with an interchangeable lens system, although I wouldn’t recommend swapping lenses while underwater.
Back on solid ground, the Galaxy NX from Samsung runs Android 4.2 Jelly Bean, meaning you can skip an entire step when dealing with your images. No more wireless transferring in order to work with your favorite photo-editing and sharing applications. The Galaxy NX even has Wi-Fi and 3G/4G LTE connectivity for uploading while on the go.
Don’t forget about the retro-styled bodies coming from Olympus. The new OM-D EM-1 addresses many of the gripes addressed to its predecessor. These have been resolved, with changes from simple generational updates in firmware and camera technology to the addition of a heftier grip for a solid handhold.
With the EM-1, Olympus is trying to reach out to the professional market. It’s designed with a durable build that is splash, dust, and cold proof. It also offers good image quality and a noticeable improvement in autofocus, a common issue on mirrorless cameras due to the lack of a dedicated autofocus sensor.
This year was filled with notable improvements across the board, and the cameras mentioned here were only a small fraction of those released. So, whether you need a tiny camera for quickly sending photos to your social media accounts, or the latest video technology in a DSLR, I'm sure there is something here for you.