In 2008, the world market welcomed the Nikon D90, noted as the first DSLR with the option of shooting videos. That’s how a new era was ushered in – an era of visual identity of the devices that are capable of recording videos. Even today many people have difficulties to grasp that cameras with quite large dimensions record videos, but on the other hand, there are many of those who use cameras with interchangeable lenses and who greatly appreciate this option. Serious sensors and serious lenses made it possible that serious cameramen make serious video material, with less serious amounts of money. Panasonic found some room in the paint, and scored easily for two, if I may describe its progress in terms of basketball. It didn’t feature an APS-C sensor, let alone full-frame, but it used its Micro Four Thirds sensor in the best possible way. First, the guys from Panasonic didn’t have to join the crazy race with the number of megapixels, and the AF system turned out equal with a smaller sensor. Lenses of various focal lengths, particularly with apertures from f/0.95 to f/1.2, and soft manual focus were the most desirable. Before long, the world was flooded with commercials, videos, and series of favorite Panasonic GH cameras. Being lightweight, they were perfect for shooting from the air, which was profusely used by crew from the Top Gear series. Nowadays, Panasonic has strengthened its position in that field, by moving its GH series one step ahead – by offering 4K video.
One of the crucial differences among photographers is the style in photography that makes them recognizable. Hobbyists and amateurs usually don’t have their specific style, so their portfolio is very colorful since their motives are usually colorful. There’s nothing wrong with that, since it’s important that an amateur photographer enjoys what he/she is doing, which precisely is the essence of any hobby. However, some photographers have got motives, persistence, and knowledge to make their work different from the majority, by specializing in one style of photography. Sometimes, even that’s not enough, because such an action leads to a higher league, where the competition is way stronger... so the expectations are way higher. One of those that successfully grapples with the competition in the field of macro photography is Predrag Petkovic, known as Devil.
We’ve recently explored the topic that had to do with EXIF data an image carries with itself. That information can be very useful, and the digital revolution brought us that favorable circumstance, so we don’t have to think about their movement too much. This is now a standard feat of each device that in any way creates images in the digital form. However, if you shoot with an analog camera, or use old lenses on a digital body, then you have to think about alternatives.
Eklektikos – choosing the best. Indeed, when you immerse yourself in everything that defines this camera more closely, you’ll see that it’s in fact a compound of solutions that turned out to be very good. Let’s remember the story about the Panasonic LX100 and re-branding as a phenomenon. Namely, the cooperation between Panasonic and Leica led to the fact that some models have clones under different names. So the LX100 got its clone under the name of Leica D-Lux, and the model I’m talking about now, the Panasonic DMC-FZ1000, in a parallel universe carries the name Leica V-Lux (Typ 114). In short, like in the case of the LX100, re-branding brought tiny cosmetic differences... And when I say the parallel universe, I actually mean the “crucial differences” between these two models. Leica has a longer guarantee, issues a license with Adobe Lightroom, has got the red dot, and of course – it’s price is higher by 400 dollars. However, this isn’t as important as the fact that this cooperation with Leica brought a really sophisticated camera design (and what’s more, a very classy package), and what’s the most important – the camera is characterized by a Leica DC Vario-Elmarit f/2.8-4.0 ASPH lens. If we get back to the very beginning of this text, the word eklektikos starts to make sense when we realize that the FZ1000 features a Sony 13.2 x 8.8 mm sensor (the so-called 1”-type sensor), which we saw in the Sony DSC-RX100 III. It somehow seems that the cooperation between brands has never been as frequent and constructive.
Today we present to you Bosko Palanacki, aka Bole. He sees himself only as a hobby photographer, an amateur, whose hunger for knowledge continues to grow even after so many years of being into photography. Of all the branches of photography, he enjoys best framing landscapes and architecture.
The Canon PowerShot G7X will be remembered as the first Canon compact camera with a 13.2 x 8.8 mm sensor – or 1” if it suits you better. By comparison, in Nikon’s world, such a structure carries the name of Nikon CX, and they are found in mirrorless cameras such as the Nikon 1 V1 / J1, while on Sony compact cameras, the sensor of those dimensions is featured by e.g. the RX100 series. Sony? Oh yeah, since I mentioned it – on purpose actually – how can I fail to mention that the Canon PowerShot G7X will be remembered for another detail! The sensor inside it is the same as the one in the discussed Sony RX100 III. Not only according to its dimensions, but really – that is a Sony sensor. If we go back some ten years, you’ll remember the situation at the end of 2005 when Canon received a great number of complaints for the A-series compact cameras (PowerShot A60, A70...). For a while, Canon gave free service to flawed models, and the chief culprit was precisely Sony’s CCD sensor, which was at the time installed into the said series. Whether this was the cause, or something else, it doesn’t matter, but for quite a long time we couldn’t see any serious cooperation between these two big brands. The one that’s had effective cooperation with Sony for years is Nikon, so this piece of information triggered an avalanche of speculations whether the cooperation would spread to the DSLR class. However, as things stand, this didn’t happen, and what the future holds we’ll see in the years to come.
It’s not unusual, even less weird that the majority of people use their camera without a clear idea about the parameters that the camera set on its own in accordance with the current situation or the amount of light. What’s more, getting out of the auto mode can be a very stressful, and most often uninteresting and unnecessary excursion into the unknown. But going further into the matter is closely related to the EXIF data since, aside from the informational purpose, this has educational purpose, too. How, by means of what, and how much are some of the key questions at the beginning of a more serious venture into photography, and the EXIF is precisely the one that has all the answers.
September has always been jolly for the world of photo industry, so it’s no wonder that, over the time, Canon picked the middle of that month for announcing its ultra-zoom favorites. To tell the truth, if we paid attention to tradition even more, then, according to logic, the Canon PowerShot SX60 HS should be a last year’s model. However, absolutely nothing took place in 2013 concerning the SX series, so we had to wait till 2014 to meet the successor of the Canon PowerShot SX50 HS. Frankly, we cannot but notice that the improvements are more significant than it was the case with the Canon PowerShot SX50 HS in relation to the Canon PowerShot SX40 HS. Alright, the improvements are not revolutionary, but none of the rivals features 65x zoom, even if it had a greater digit at the telephoto end of the zoom range. Yes, the Nikon P600 offers as much as 1440mm, but it starts at ‘only’ 24mm, which gives 60x zoom. Yet, the Canon PowerShot SX60 HS features 24-1365mm focal length. Do these 60, 65x zoom multiplication and comparisons give you goosebumps?
When we mention the term re-branding in the world of photography, it’s somehow natural that the first thing that crosses our mind are two companies: Leica and Hasselblad. Re-branding encompasses creating a new name, redesigning the logo, and even a new visual identity for the product, which will differentiate from others in that way. This definitely includes launching the same product once again. For example, if you are Hasellblad, than it’s quite logical to take a Sony A7 or RX100, decorate it with a wooden grip made of the African tree Pterocarpus soyauxii in combination with carbon fiber, and on top of that, jack up its price to $10,000 with a new logo. On the other hand, Leica turned out to be more constructive concerning this, which it proved in the early 70s while working with Minolta. A couple of decades later, instead of Minolta, Panasonic is now the partner that patents, knowledge, and ideas are shared with. Here, re-branding has wider meaning, which had a favorable impact on the basic model as well – in this case, the Panasonic LX100. In the parallel world of Leica, its name is the Leica D-Lux and it features a red dot, ISO 100, it’s 300 bucks more expensive, it has longer guarantee, and offers ‘free’ Adobe Photoshop Lightroom. Alright, now we can get back to the Panasonic LX100.
For the last couple of years we’ve had a chance and pleasure to enjoy photographs of a real landscape photographer, the real McCoy. Since the headline deprived you of guessing who the guy in question is, we can get down to introducing this exceptional photographer.
Those who follow the market of this camera expect improvements and new solutions by analyzing each square centimeter of the camera, while real buyers are not burdened with the genesis of the product, yet at the moment of the shopping, they expect from the current model the most in comparison to its rivals. The Sony CyberShot RX100 III is the third camera in the RX series, which was initiated in 2012. Introducing a new model each year, Sony didn’t hesitate to apply various solutions to such a small camera, bearing in mind the original idea – the greatest possible sensor, with as many megapixels, in the smallest possible body. What it persevered in are definitely the dimensions of the sensor – 13.2 x 8.8 mm – with 20 MP, which certainly is a factor that makes it stand out. However, lately the market has expanded its wishes and hasn’t stopped at megapixels, high ISO values, or as large optical zoom or aperture as possible; yet, it showed the need for an electronic viewfinder of higher quality. Sony recognized those demands and made its latest model RX100 III different from rivals, precisely in that way – by adding a pop-up electronic viewfinder. Not enough?
It is not very rarely that we take certain technical concepts for granted without giving them some thought and trying to understand their essence. This is where the Lemming Syndrome comes into play. Let me explain: lemmings are tiny rodents famous for following one another when plunging from mountain cliffs down into the abyss. The Lemming Syndrome is not an intellectual phenomenon, rather a psychological one, so the comparison that I am drawing does not have to do with our intellect and ability to understand something, yet it is related to the property of ours to accept easily and without thinking what the marketing sectors of large companies offer us.
Those people that discovered, preserved and saved from oblivion what might’ve been doomed to be forgotten or disappear are remembered by history since mankind is deeply indebted to them. As it usually happens, by a sheer chance, a guy named John Maloof became one of those people. In 2009, while looking for material for his book, he went to an auction of old things opposite his home and bought the biggest chest for $380. The chest was full of negatives whose content was about the city of Chicago as a motive, which in fact was his primary goal. At first and after a quick scan, the content didn’t meet his expectations, so the chest was cast aside into another room. However, some time later, John not only recognized the value of the chest content, but after a while he got down to looking for and buying the rest of the material from the other participants at the auction. This is precisely the point where the two names banded together for the eternity, doomed to be always mentioned together.