IT’S TIME MIRRORLESS CAMERAS DIRECTORY
Over the last few years in the introductions to this directory we’ve been watching the slow but steady advance of the mirrorless camera. It now dominates the consumer categories and is starting to make significant inroads into the professional sector, speared-headed by Fujifilm and Olympus with the X-Pro1 and OM-D E-M1 respectively. These brands are now on their second generation pro mirrorless cameras – as are Sony and Panasonic – and each generation is not only becoming steadily more capable, but effectively erasing the technological impediments which kept the D-SLR as the camera of choice for working photographers.
Over the last year there have been a number of significant developments in mirrorless cameras, notably the ‘no black-out’ electronic viewfinder – derived from significant faster refresh rates – and very fast autofocusing systems… in the case of Sony’s A9, enables continuous shooting at 20 fps with frame-by-frame AF and AE adjustment (and at 24.2 megapixels resolution). Perhaps more than any other recently-launched pro-level mirrorless camera, the A9 symbolises why mirrorless will ultimately triumph over the D-SLR, because the configuration and technologies deliver benefits that simply cannot be ignored.
In the promotional material Sony states, “[the] A9 liberates you from the limits of conventional SLRs that rely on mechanical systems” and, just to push the point a bit further, “…freedom from mechanical noise and vibration opens up a vast new world of imaging opportunities”. Sony is calling it the “full electronic revolution” and, more significantly, there’s still more to come. In contrast, the SLR camera – digital or otherwise – is at the end of its development possibilities… for example, there is no more speed to be had unless the reflex mirror is locked up, in which case why bother having it in the first place. Panasonic’s new pro-targeted Lumix G9 – the model number is presumably coincidence – leverages video technology to deliver its ‘6K Photo’ and ‘4K Photo’ capture modes. ‘6K Photo’ captures bursts at 30 fps, each frame an 18.7 megapixels still. There’s the option with ‘4K Photo’ to run at 60 fps with 8.3 MP stills. Panasonic is promising 8K video by 2020 with presumably ‘8K Photo’ which will deliver 33 MP stills. These functions aren’t just being used by sports and action photographers to improve their ‘strike rates’, but also for fashion, or when even shooting hyper-active children.
Then there are derivative functions such as ‘Post Focus’, which shoots at all the possible focusing points so the most suitable one can be selected post-capture… or all combined in-camera for focus stacking which ensures maximum depth-of-field no matter what aperture is used. Both the Lumix G9 and Sony’s new A7R III introduce a feature that’s already available on Olympus’s OM-D models, namely pixel shifting to increase the resolution and colour accuracy. This is a derivative of the sensor-shift technology for image stabilisation, but now extremely finely controlled to allow pixel or even half-pixel shifts which build the resolution – up to 169 megapixels in the case of the A7R III – as well as allowing full RGBG colour to be recorded at each pixel point. There are still some limitations – the multi-shot capture process requires a static image and a tripod-mounted camera – but this technology is also still in its early days with more to come. And on the subject of sensor-shift image stabilisation, the G9’s system allows for up to 6.5 stops of correction for camera shake with lenses up to 800mm (35mm equivalent) which means that, with shorter focal lengths, it’s possible to shoot hand-held with a shutter speed as slow as one second.
All this adds up to more tools for more efficiently handling technical challenges and with an increased potential for successful outcomes. With the ever tighter budgets that are now a reality for many working photographers, efficiency is now very much the name of the game. Furthermore, as we – albeit surprisingly slowly – move on from the perception that a big camera is somehow more professional and therefore capable of better results, the benefits of more compact and lighter weight equipment are undeniable.
Fujifilm X-T2
Construction: Diecast magnesium alloy bodyshell and chassis, sealed against dust, moisture and sub-zero temperatures.
Lens Mount: Fujifilm X-mount bayonet.
Sensor Type/Size: ‘X-Trans CMOS III’, 15.6x23.6 mm. No optical low-pass filter.
Total Pixels: 24.3 million (maximum image size = 6000x4000 pixels).
Focal Length Conversion Factor: 1.5x.
Storage Medium: Two slots for SD/SDHC/SDXC memory cards with UHS-I and UHS-II support.
Data Compression: Two levels of JPEG compression on three resolution settings plus 14-bit lossless on RAW data. RAW+JPEG capture. Choice of aspect ratios – 3:2, 16:9 and 1:1.
ISO Range: 200-12,800 (extendable to ISO 100, 25,600 and 51,200).
Buffer Memory: Up to 42 frames JPEG/large/fine or 38 RAW.
Maximum Frame Rate: 8.0 per second with focal plane shutter. 14.0 fps with sensor shutter.
Video Recording: MOV format (MPEG 4 AVC/H.264 compression) – 4K UHD at 3840x2160 pixels; 30, 25 or 24 fps and 16:9 aspect ratio (maximum bit rate is 100 Mbps). Full HD at 1920x1080 pixels; 50, 25 or 24 fps and 16:9 aspect ratio (maximum bit rate is 100 Mbps). HD at 1280x720 pixels; 50, 25 or 24 fps and 16:9 aspect ratio (maximum bit rate is 50 Mbps). Stereo microphones with auto/manual adjustable levels. Stereo audio input. Stereo audio output on optional VPB-XT2 battery grip. Uncompressed 8-bit 4:2:2 colour output via the HDMI connection (4K to memory card and 2K to HDMI device simultaneously), F-Log gamma profile (for 4:2:2 colour via HDMI).
Autofocusing: Hybrid phase/contrast detection system. 325 points with 169 points for phase detection. Zone modes (3x3, 5x5 or 7x7), auto tracking and face/eye detection.
Metering: 256 zones multi-pattern, centre-weighted average, spot and TTL flash.
Exposure Modes: Program (with shift), aperture/ shutter-priority auto and manual.
Shutter: Electronic focal plane, 30-1/8000 second plus ‘B’, flash sync to 1/250 second. Sensor shutter has a speed range of 30-1/32,000 second.
White Balance: Auto, seven presets, three custom presets, correction (blue-to-amber and/or magenta-to-green), manual colour temperature setting, auto bracketing.
Power Source: Rechargeable lithium-ion battery pack. Optional VPB-XT2 Vertical Power Booster Grip accepts two li-ion battery packs.
Features: OLED EVF (2.359 megadots), sensor cleaning, 15 ‘Film Simulation’ modes (Standard/ Provia, Vivid/Velvia, Soft/Astia, Classic Chrome, Pro Neg High, Pro Neg Standard, ACROS, ACROS+Yellow, ACROS+Red, ACROS+Green, Monochrome, Monochrome+Yellow, Monochrome+Red, Monochrome+Green, Sepia), ‘Grain Effect’ (Strong, Weak, Off ), eight ‘Advanced Filter’ effects (Toy Camera, Miniature, Pop Colour, High-Key, Low-Key, Dynamic Tone, Soft Focus and Partial Colour [Red/Orange/Yellow/Green/Blue/Purple]), ‘Lens Modulation Optimiser’ (LMO) processing, intervalometer (up
