Ready to upgrade from a compact camera to a more-capable DSLR? Or looking to trade in your old DSLR for a newer, faster, video-capable model that won’t cost you an arm and a leg? Check out the roundup I wrote in this month’s Outdoor Photographer magazine.

INTRO:
Big-Time DSLRs Under $1,000
Packed with power, advanced features and high performance, the latest sub-$1,000 ­­HD SLRs are outstanding options for serious nature photographers
By Michael J. McNamara

It’s hard to believe that the very first DSLR was introduced only 20 years ago, but that’s ancient history in the world of digital cameras. Priced at an astronomical $26,000 for the basic color model, the Kodak DCS-100 had a jury-rigged, 1.3-megapixel camera back attached to a Nikon F3 film SLR and a shoebox-sized 200 MB hard drive that slung painfully over your shoulder. By today’s standards, the DCS-100 was a real clunker—but the same can be said of any DSLR that’s more than five years old, as recent advancements in digital camera technologies have upped the performance ante dramatically in DSLRs from entry level to professional grade. Now, if you’re a serious photographer who can’t justify spending several grand on a rugged, full-frame DSLR, or even a pro looking for an affordable, lightweight backup camera and one that just happens to record great video, you’ll be pleasantly surprised by the features and performance found in DSLRs costing under $1,000.

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Canon’s EOS 5D Mark II captures true 1080p HD Video with sound. Image quality and AF controls are minimal in video mode, but depth of field and wide angle views make this a hot feature.

Once DSLRs arrived with Live Preview modes, I knew it was only a matter of time (and several image processing advancements) before the video signal being pumped to the camera monitor would find its way directly to the memory card. I expected the first hybrid models would be from either Canon, Sony, or Panasonic—all DSLR players with a large stable of camcorders. Surprise! Nikon beat them to the punch with its 12.3MP D90 ($899 street) featuring a live view mode that could be used to record 720p video (1280 x720 pixels per frame, at 24fps) with mono sound. Word had barely spread about this camera when Canon trumped it with its more expensive ($2700 street) 21.1MP EOS 5D Mark II featuring a full frame sensor and true 1080p HD video recording (1920 x1080 pixels per frame, at 30fps), plus built-in mono sound and a stereo sound input jack.

You can bet that other video-capable models will be introduced by a variety of manufacturers in 2009 and beyond, just as a Live Preview mode spread from a single Olympus DSLR in 2005 to 80% of the current DSLR models. But the question that many serious still shooters are asking is whether a video mode is a must-have feature in a DSLR, or more of a gimmick designed to appeal to the horde of compact camera owners moving up to a DSLR?

For more commentary on video recording with a DSLR, listen to the October 25, 2008 McNamara Report segment on Inside Digital Photo (slide to the 20min 45sec mark for that segment);

After all, the demand for a DSLR Live Preview mode didn’t come from pros converting over from 35mm film DSLRs, but from a new generation of photographers weaned on compact cameras and their “live view” LCD viewfinders. Those same compact shooters take video recording for granted as well—so why not offer the same function in a DSLR model made just for them?

Ok, I admit there’s a flaw in my logic: The Nikon D90, and more so the EOS 5D Mark II, are really not aimed at compact camera owners looking for their first DSLR. However, the point is that there wasn’t a measurable pent up demand from pros and advanced amateurs for a video recording function in their DSLRs, and now that is being offered, these same serious shooters are trying to figure out if it’s a feature that will help or hinder their ability to make a living with their cameras.

Current state-of-the-art camcorder with high res still capture (including models from Canon, Panasonic, JVC, and Sony) deliver acceptable to fairly decent still image quality, and allow for still image capture that doesn’t even interfere with video and sound recording. When shooting video on most of these models, you simply press the still image capture and a 2-6MP high res still photo is stored on a memory card, while video and sound are recorded to tape or a hard drive. This seamless switch between video and high res still capture modes makes it possible for pro videographers to capture and sell still images of an events to newspapers, magazines, and even wedding clients. In fact, some news organizations are replacing their DSLRs with hybrid camcorders to capture content for multiple platforms.

Unfortunately, switching to the video mode in either the Canon or Nikon DSLRs takes several steps. To shoot video, both cameras must first be set to live view mode—thus reducing the benefits of using the DSLR’s super sharp and bright optical viewfinder, its super-responsive AF system, and most of its advanced image quality and metering controls. Sluggish autofocus can be achieved using contrast detection AF, or after a short black out and delay caused by the mirror swinging back into place for phase detection AF. But once video recording is started, neither camera will adjust focus to follow the action or subject–a staple on most camcorders. Despite the bright and sharp 3-inch LCD monitors found on both cameras, it’s hard to tell if the subject is in focus in the first place, especially in bright light outdoors.

Other video “failings” include fewer image quality controls, reduced battery life due to higher video demands, intensive memory requirements for HD (even short clips take up 100’s of MBs), and generally rotten sound. In fact, the built in microphones on both cameras tend to pick up all sorts of camera and environmental noises, and only the Canon offers an external microphone input jack for recording stereo. Then, unless you have an image stabilized lens or are shooting with a tripod, the video jumps all over the place when you are panning, and freezes for a moment when you take a still photo.

So, is a video mode in a DSLR a useless feature? Not at all! In fact, I’m all for it—and think that cameras such as the Canon EOS 5D Mark II will actually be on the HOT list for pro videographers who want its unique video capability, as well as still shooters who are primarily interested in its awesome full frame and high res still features.

For videographers, the APS-C sized sensor found on the Nikon D90 and full-frame sensor found on the EOS 5D Mark II make it possible to shoot HD movies using a wide variety of affordable wide and ultra-wide angle lenses. (Want a 14mm equivalent field of view on an HD camcorder? HA! It will cost you a fortune.) Those larger sensors also dramatically improve depth-of-field control so that backgrounds can be blurred out with unparalleled Bokeh. (The relatively small 1/3-inch to 1/5-inch sensors found in typical camcorders require lens focal lengths that deliver too much depth of field and make it impossible to blur out a background, even at widest apertures.) For more information regarding the still shooting and video capabilities of the Canon EOS 5d Mark II, check out the incredibly well-written Canon white paper on the EOS 5D Mark II.

Having a video alternative may allow traditional still photographers to capture video footage that would be impossible otherwise. For example, underwater photographers could switch to video mode at a moments notice to capture the fluid motion of the rare Pacific Mermaid, while mountain climbers could record the mating call and ritual dance of the Himalayan Abominable Snowman. In both cases, it’s impossible to carry separate still and video cameras.

Before those unique video segments ever appear in a National Geographic HD special, the video from cameras such as the D90 or EOS 5D Mark II will flood internet entertainment sites dedicated to capturing the latest celebrity outing or “Girls Gone Wild” moment. For example, one of the best nightlife and fashion photographers I know, Shane O’Neal, covers a number of top clubs in Las Vegas, including the Playboy Club and Club Moon at the Palms Hotel and Casino. (www.shaneonealphotography.com). With an EOS 5D Mark II in hand, he is able to switch to the video mode and capture dancers, celebrities, and “wild” patrons doing what they typically do at these clubs after a few drinks, and post short video clips to the club’s web site along with still photos. In the past, capturing video required a separate videographer on hand (at an extra expense). But now he can do both, and no one knows he’s actually recording video with sound. The result? Some unique, and wild video that helps increase traffic, and may generate sales of hot video footage.

What’s next? I expect the next generation of dual-mode DSLRs to improve on video ease-of-use, sound recording, and AF speed and tracking performance. Then I expect to see some hybrid accessories, such as a dedicated flash unit with a built-in stereo zooming microphone, an external 5-inch LCD monitor, external Firewire-connected high-capacity storage drives dedicated to video recording, and additional powerpacks to handle the video power drain. But don’t expect the camcorder crowd to go away. In fact, 12MP camcorders are on their way.

Hang on to your budgets and pixel-calculators, everyone. At the Photokina trade show in Cologne, Germany this September, Hasselblad introduced two new medium format digital cameras, the H3DII-39 (pricing estimates are around $22,000, street) and the H3DII50 (priced around $28,000, street). These cameras were mentioned in the a previous Photokina Report, but to summarize: the Hasselblad H3DII-50 will be the first camera in the market equipped with Kodak’s larger-than-35mm 50 megapixel CCD sensor. As if a 50MP sensor is not impressive enough on its own, Hasselblad also announced that it hopes to raise the bar again in 2009 with the H3DII-60, a 60 megapixel version with a price-tag of about $35,500 (I guess there’s a shortage of 60MP sensors due to the high demand from government spy satellites!!)

For more analysis on the Hasselblad H3DII50 features, listen to the October 18, 2008 McNamara Report segment on Inside Digital Photo (slide to the 22min 30sec mark for that segment);

So the megapixel wars continue, albeit for the few who can afford it, want a medium format system, or are locked into Hasselblad by a sizable investment in its glass. But if you’re looking to move up the megapixel chain from your advanced amateur or pro DSLR and wow! your clients with an uber-camera, is a Medium Format system the best choice? Hasselblad claims it is, but I disagree with some of the arguments I’ve heard. For example: During the Photokina press conference, Hasselblad CEO Christian Poulsen contended that 35mm-based digital SLR companies won’t be able to compete with medium format because their lenses can’t handle the resolution of super-high res sensors. According to a quote in Photo District News by Dan Havlick, Poulsen said “In my opinion, for those cameras, the pixel game should’ve been over a few years ago. I don’t think you can tell the difference between a 16-megapixel camera and a 21 or 24-megapixel camera and that has nothing to do with the sensor, it has to do with the resolution of the lenses.”

Is he kidding? I haven’t heard a CEO of a major company make such an erroneous claim since the launch of the Foveon X3 sensor. Facts don’t support Poulsen’s statement about the superiority of medium format lenses over 35mm lenses, and my fairly-recent test experience while at Popular Photography magazine refutes his claim about being able to tell the difference between a 16MP and 21 or 24MP camera. Fact: Lab tests using a fairly inexpensive Canon EF 50mm f/1.4 lens showed a 10+ percent increase in resolution delivered by the new Canon EOS 1Ds Mark III over the older 16.7MP Canon EOS 1DS Mark II (tested at approx. 2800 lines vs 2500 lines respectively).

Why would a company that makes a few thousand lenses a year for its Medium Format systems believe that it had better lens technology than companies typically selling millions of lenses per year? (and collectively spending 100 times more in lens R&D per year?) The fact is that until recently Hasselblad and the other remaining MF companies did little to optimize their lenses for use with digital sensors. Instead, these companies relied on the MF size/magnification advantage that propelled them through the film camera years, and not superior lens technology. Back in 1995 Popular Photography magazine reported that MF lenses (even the best available at the time) were not as sharp as the top lenses being manufactured by 35mm SLR companies such as Canon, Nikon, Olympus, Konica Minolta, and Pentax. Despite this finding, those MF lenses still helped MF cameras deliver better image quality and detail. Why? When enlarging the captured film image to print or even projection size, the larger-sized film  used in MF cameras did not have to undergo as great a magnification as 35mm film, and therefore could get by with slightly lower resolution at the lens.

Assuming the same brand, ISO, and film type, the film being used in both 35mm and MF cameras came off the same production line, was cut to different sizes, and therefore had the same potential resolving power. If a MF manufacturer made sharper lenses the advantage would have been even greater–but the cost of doing so apparently outweighed the visible advantages, and MF lenses were already several times more expensive than 35mm equivalents due to their larger size and shorter production runs. Meanwhile, for several decades, 35mm manufacturers have been spending millions per year trying to create lighter, more affordable lenses with improved brightness, sharpness, flare reduction, light falloff, autofocus engines, and image stabilization systems. Their goal? Sell millions more lenses per year along with millions of SLRs and DSLRs, more than enough to offset lens R&D spending. (Little know factoid: roughly 12,000 medium format cameras were sold per year in US during their peak in the mid-to-late 90′s, which may be one reason why several MF manufacturers are no longer around.)

Are these expensive Hasselblad lenses really sharper than their 35mm counterparts?

CCD and eventually CMOS sensors started showing up with a whole new set of problems for the 35mm lens and camera manufacturers. Unlike film, which can capture a ray of light coming in at extreme off-axis angles, CCDs and CMOS sensors have less sensitivity to off axis light rays and more sensitivity to flare, soft focus, and light falloff. To compensate, sensor designers added micro-lenses on top of each pixel to help steer the light into the sensor (imagine trying to throw a basketball into a well from twenty feet away. It would sure help if there was a large funnel on top of the well to help guide the ball in.) Meanwhile, in order to keep up with the megapixel sensor growth, 35mm lens designers had to improve the edge-to-edge performance, reduce chromatic aberration and internal reflections, and fine tune the AF precision (among other things) of their lenses. As a result, digitally optimized lenses have been available from most 35mm manufacturers for the last 5 years. However, when the first Hasselblad H1D was released sporting a Kodak 16MP sensor in its digital back, there were no digitally-optimized Hasselblad lenses available. Instead, the smaller format of the sensor relied on the sweet spot of existing lenses to provide extremely high (and beyond satisfactory) image quality. 

The question anyone who is considering either the new 50MP or promised 60MP Hasselblad should be asking is whether the Hasselblad lenses they already own, or may purchase in the future, are optimized for the size and design of these new Kodak sensors. As in the film days, the resolution of the sensor isn’t the advantage point, but it’s larger format is. The size of the pixels in the 50MP Kodak sensor used in the H3DII are nearly the same as the size of the pixels in the Full Frame 21.1MP Canon EOS 1Ds Mark III or in the 24Mp Sony A900–so the Kodak sensor does not offer dramatic improvements in resolution (at the sensor), low light sensitivity or noise advantage based on the pixel size (as it generally the case when comparing large and small pixels). What you gain by shooting with a 50MP or 60MP medium format camera is either a cropping advantage, or an increase in maximum reproduction size–the same advantages offered by MF cameras in the film era. (Now, if you were able to pack 50MP into a 35mm full frame sensor, you would increase the resolution significantly compared to a 21MP sensor, but you would also decrease low light sensitivity as a result of using smaller pixels.)  

Granted, looking through the enormous optical viewfinder on the Hasselblad is a real treat, and carrying one around is a traffic stopper, but is the higher price for these medium format bodies and the larger, more expensive lenses it requires worth it when compared to existing 21 and 25MP full frame DSLRs from Canon, Sony, and eventually Nikon? Not for me, or most other pro photographers who would rather have lighter, brighter, faster focusing, and image-stabilized lenses along with pro camera bodies that offer far more image quality and performance controls, greater durability, and speed compared to the Hasselblads or any other MF camera (although the new 37.5MP Leica S2 may help change my mind). Forget about shooting sports with this Hasselblad (unless you do the team photo) as it has a non-existent burst mode, or taking it outside in a light rain. And if your goal is to WOW! new clients with extraordinary image detail, you’ll be in line with the other photographers shooting with the Canon EOS 1Ds Mark III. Given all the above, you have to wonder how long Hasselblad will be able to compete against the full frame 35mm DSLR crowd, and if it will sell enough of the new H3D models to justify further developments. видео пытки казни изнасилования

Burst mode? WHAT burst mode? It takes 1.2 sec to store each 50MP image.

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The biggest surprise at last month’s Photokina show, and certainly one of the hottest camera products of the year, had to be the new 37.5 megapixel Leica S2 and its lens family. (If you have to ask how much it’s going to cost, this camera isn’t for you! Estimates with a 70mm lens: @20 grand.) For many years, Leica has been struggling to make a solid stand in the digital camera arena, with limited success–and some near failures. Its early DSLR models never really made it into the U.S., and sales of the Leica M8 digital rangefinder were abysmal in 2007  until Leica found a way to fix its excessive sensitivity to infrared radiation. As you may recall, that sensitivity caused the M8 to record many black materials and even human hair with a strong purple cast. Leica responded by bundling IR filters with new lenses and selling IR filters for its older lenses–not the ideal solution for Leica lovers who abhor lens filters of any kind.

However, the new Leica S2 digital SLR appears to be a well designed, and thought out piece of camera equipment. It’s really the first-of-its-kind DSLR, with a larger than 35mm CCD sensor (30x45mm vs. 36x24mm, approximately 56% larger) delivering  medium-format class resolution and a normal 3:2 aspect ratio. It’s actually smaller than an EOS 1Ds Mark III, but slightly larger than the EOS 5D Mark II.

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For more of my analysis and initial reactions to the Leica S2, listen to the October 4, 2008 segment of the McNamara Report on Inside Digital Photo (slide to the 11min 50sec mark for that segment);

Front view of Leica S2 with supplied “kit” lens, the Summarit-S 70mm f/2.5 standard (which should give the approximately the same field of view as a 50mm on a 35mm Full-frame DSLR.

To learn more about the sensor used in the Leica S2, I thought I’d go to the source (Kodak, not Leica):

Kodak Release: The LEICA S2 camera, powered by the new KODAK KAF-37500 Image Sensor (6.0 micron, new KODAK TRUESENSE 6.0 micron Full Frame CCD Platform,), is the third product from Leica to be based on KODAK CCD Image Sensors – a relationship that began first with the LEICA Digital Module-R and was then extended with the LEICA M8 camera. With an imaging area of 45mm x 30mm, the 37.5 million pixel KAF-37500 represents a new optical format for photography, providing an image capture area over 50% larger than traditional 35mm film. The sensor also includes specific design features that optimize its use in the S2 camera, such as the use of microlenses to increase the overall light sensitivity of the device, enabling improved image quality under low light conditions. In addition, an infra-red absorbing optic was incorporated directly into the sensor’s packaging, enabling the development of a thinner camera design by eliminating the need to include this IR-absorbing function as a separate camera component.

The last line of that press release was certainly written to target worries that this camera might follow  in the infrared shoes of the M8. But this time the IR cutoff filter is located where it belongs–in front of the sensor and not in front of the lens. Note that the pixel size on the sensor is 6 microns, which is slightly smaller than the 6.4 micron pixels on the new 21.1MP Canon EOS 5D Mark II. So right off the bat any claims for increased light sensitivity due to the size of the sensor pixels will have to be measured against existing 35mm Full-frame pixel sensitivity, including the pixels found on the 25MP Sony A900 and the significantly larger pixels found on the Nikon D3. That said, the higher pixel count on the Leica S2 is the result of a larger-area sensor, and not due to packing more pixels into a smaller area–a good thing. With its increased sensor size and pixel count, plus sharp Leica lenses, the S2′s image resolution should be about 15% higher than on the Canon EOS 5D Mark II or EOS 1Ds Mark III. (FYI: It takes at least 4X as many pixels to double the resolution on a camera sensor.)

Image quality will also benefit from the new Maestro image processor (developed with help from Fujitsu) that enables the S2 to produce in-camera JPEGs from the RAW files (stored separately as RAW DNG format images.) Leica claims that up to 400 can be stored on a 32GB SDHC card which seems like a misprint considering the file size this equates to (80 MB each). But for additional storage, or even the primary storage considering the capacity required, the S2 has a CF card slot as well. In addition to a wide array of image quality settings, the S2 supports both the sRGB and Adobe RGB color space. I will guess that it will ship with a version of Phase One RAW conversion software since Leica just announced a partnership with Phase One.

Other significant features on the S2 include the 3-inch 460,000 pixel LCD screen shown above. Wait, did Leica say pixels? Actually, it looks like Leica has yet to adapt to the CIPA standard for differentiating between pixels and dots. The LCD monitor on the S2 is most likely a 460K dot screen (equating to a 153,000 pixel screen). That’s sharper than most but not as sharp as the 3-inch LCDs found on the Canon 5D Mark II, Sony A900, and Nikon D3, all of which use 920,000 dot screens. On top, the camera uses a small OLED data screen. In my opinion, that’s a controversial decision, considering the longevity issues with OLED. Lets hope this one uses the latest technology.

New lenses include a 24mm ultrawide, 30mm tilt and shift, 35mm wide, 70mm f/2.5 standard (should give approx 50mm field of view on 35mm system), 30-90 zoom, 100mm short tele, 120mm macro, 180mm telephoto, 350mm telephoto. All will have leaf shutters built, a benefit for flash sync. Leica claims no distortion in these lenses, and therefore no need for post processing to remove lens defects. We’ll see.

According to Leica, the camera features an in-body focal plane shutter up to 1/4000 sec, and an “ultra-high” precision and quiet AF system. The lenses all include separate leaf shutters that should allow for faster flash sync with external studio strobes. No word yet on accessory dedicated flash units, but there’s a spot for one on the multi-contact hot shoe, and there will also be an accessory battery grip with vertical shooting controls available (see photo below):

Camera connections include Hi Speed USB 2 and HDMI out. Push and pull LEMO connection adds a bit of security to file transfer–and are even strong enough to support the camera. There’s also a separate flash sync connector and a pop-out camera strap connector that hides a slot for a planned WiFi transmitter. But this camera doesn’t have a live view mode–a restriction incured by the use of a CCD instead of a CMOS imaging sensor. Is that a significant problem? For studio and macro shooters, it may be. But few Leica photographers will want to take their eyes away from the beautiful optical viewfinder on this camera and its direct view through some of the sharpest, brightest lenses available.

Bottom line: Its size and potential image quality, combined with a wide array of Leica lenses covering the normal shooting scope, make the S2 a significant player in the ultra-high image quality class of cameras. Will it outperform the top end Canon and Sony DSLRs in the image quality arena? Perhaps. It has the potential resolution advantage, but it’s still too early to say if it will offer low noise images at high ISOs, or wether its AF system and burst modes are fast enough for more than slow moving, or fixed, subjects. And you have to wonder about the price of this camera and its lenses–or do you?

Every two years the giant Photokina Trade Show takes place in Cologne, Germany. Imagine a trade show where European picture frame manufacturers fill up a floor larger than a football field, consumer electronics (TVs, home theater, etc) has its own building, and where it usually takes several days just to figure out where the bath rooms are located–and you’ll get an idea of how huge the Photokina show is. I’ve attended this show since the late 1990′s, and usually come back with more than enough new material to write about as well as interesting photos of the show, city, and night life.

Photo of bridge across the Rhine and the DOM Cathedral taken from the Photokina Show side of the river in 2006. Camera: Panasonic Lumix DMC-LX2 in night scenery mode. 4 sec at f/4.

On the other hand, I also returned with a wicked cold, the flu, and overall exhaustion from the travel (September weather in Cologne is typically blah!). Last time I went, I had to wonder if the show was worth the hassle, given the fact that I already had been given sneak peeks at nearly every product of importance introduced at the show, and the information on those I hadn’t seen was available on the internet within 24 hours. That was even before the dollar took a nose dive against the EURO and hotel prices skyrocketed to over $500 a day (within 5 miles of the show.)

The 21.1MP Full-frame Canon EOS 5D Mark II with unique 1080i HD movie recording mode gets my award for top intro at Photokina 2008. But I saw it the week before, so why travel to Germany?

This year, given that my expenses weren’t being covered by a major publication or news organization, I decided to miss the show. Looks like I made the right choice, too. By the time Photokina kicked off on the 23rd of September, I’d been briefed on 90% of the hot products that debuted at the show. The only real surprises were the Leica S2, a super-expensive medium-format digital Hassalblads, and a few Foveon-based cameras by Sigma. Of course, I have to admit that I missed some of the great parties, unusual exhibitions, and lack of inhibitions displayed by fellow journalists during afterhour beer hall visits), but I also didn’t have to put up with lousy weather, crushing crowds, transportation delays, and questionable ingredients in the sausages being sold on corners. If I wanted those, I could have hopped on a train to NYC!
So Scott Shepard and I decided to cover the news and new products from show from the comfort of our own turf in an extended version of the McNamara Report that aired during Photokina:

To listen to the Sept. 27 segment of the McNamara Report on Inside Digital Photo click on the play button;

After the show, while everyone who did go was recovering from jet lag, colds, and exhaustion after the show, I was feeling fine for a change. Now I’m wondering if I can do the same thing during that other GIANT nightmare of a show called CES in January. Wait! I like going to that show!

I got my first glimpse of the new Sony Alpha 900 back in January 2008 at the PMA show in Las Vegas, but I wasn’t really impressed. After all, it’s hard to get excited about a fake, plastic mockup hiding behind a sheet of Plexiglas even when all of the signs (and PR reps) around it extol its pro virtues and herald a Fall arrival. I’ve seen more than my share of early prototypes and wood-block cameras dissolve into the vaporware mist over the years, so of course I was a bit skeptical—especially since Sony had never built a pro-level DSLR and was trying to trump both the Nikon D3 and Canon EOS 1Ds Mark III.

However, Sony rarely makes a promise it doesn’t keep, and today (Sept. 9, 2008) it fulfilled its promised delivery date by releasing the final specs on the Alpha 900, along with several new accessories and tons of photos. (See press release). But did it fulfill its promise to design and build a professional DSLR? If the specs, photos, and press release were all I had in hand, I’d have to say “yes” based on the features listed on this camera and its relatively low price—only $3,000 for the body. (Yes, that’s right, in this case I think $3,000 for a DSLR is a super bargain, especially when compared to the Nikon D700, Canon EOS 5D, and Canon EOS 1D Mark III, all of which land close to that price point.)

For more of my analysis and initial reactions to the A900, listen to the Sept. 20 segment of the McNamara Report on Inside Digital Photo (slide to the 14min mark for that segment);

I’m not going to spend time describing all the cool features on the A900, just the one’s that I think give it pro potential and an advantage over the competition. For starters, a 24.6MP, full frame CMOS sensor should deliver the kind of image quality and resolution that medium format owners with digital backs are used to achieving. Only those photogs pay way more for a medium format system that’s not as portable, sleek, or versatile. On that note, Canon EOS 1Ds Mark III owners constantly bragging about their 21.1MP images should be wondering how Sony could deliver a DSLR with a full frame, 24.6MP sensor, plus built-in image stabilization (SteadyShot Inside) that works with most Konica Minolta lenses, a sharper 920,000 dot 3-inch LCD (vs. 230,000 dots), a similar 5fps burst rate, and a higher ISO of 6400 (vs. 3200) all for 5 grand less than the Canon!

New accessories also bring up the caliber of the A900. Most notably is the Sony HVL-F58AM flash unit with its unique Quick Shift Bounce system and wireless control compatibility (see photo gallery). This innovative flash will change the way you use bounce flash in the future, and improve results especially when shooting portraits. Sony will also offer a VG-C90AM vertical grip that houses 2 InfoLithium batteries, plus several new lenses. You can view images of the camera, lenses, and flash at Sony’s news site.

Ok, so the pro Canon and Nikon models all offer a live view mode—but is that feature worth several thousand dollars more? Not in my book. And I’ll take the image stabilization and extra resolution provided by the A900 shooting 5 fps over the Nikon D3’s lower 12.1MP resolution at 9fps any day. Of course, that D3 does do ISO 25,600, and both Nikon and Canon offer a greater lens selection–for now.

Sneak Preview:

Spec sheets and press releases are like movie trailers—if they do their job right they get you to take a look at the real thing when it arrives. But I guess I’ve been around long enough to attend sneak previews, and in this case that meant getting my hands on a preproduction Alpha 900 body, a look at some new Sony Zeiss zoom lenses, and an exciting new dedicated flash. It was only for a day—more than long enough to solidify my opinion about this camera’s performance and feature set, plus give me a clue about how it will rate in the image quality arena.

In my opinion, based on over 17 years of testing digital cameras, the Alpha 900 is a pro camera in nearly every respect, from its optical viewfinder (100% coverage) and magnesium-alloy, weather-sealed body construction down to the placement of most control buttons. It also offers a plethora of fine-tuning adjustments available via menus, removable focusing screens, HDMI video output for HDTV viewing, Dynamic Range Optimization, and dual BIONZ processing chips for fast startup and performance. While heavier than most advanced DSLRs in the sub-$2,000 price range, the Alpha 900 body, at 30 ounces, weighs slightly less than the Nikon D700 (34 oz), and ¾ lb less than either the EOS 1Ds Mark III or Nikon D3.

The A900′s viewfinder is a work of art, reminding me of the clear, bright viewfinders I treasured in my old favorite 35mm film SLRs such as the Canon A-1. Sony claims 100% coverage, and that’s how it appeared without lab measurement. I was also surprised at the speed of the AF system, and the speed and duration of burst mode (considering I had the camera set to RAW+Finest JPEG). About the only fault I found with the camera’s controls were the placement of the exposure-compensation button–which would be more reachable if it were swapped with the ISO setting button behind the shutter release instead of off to the side. Also, the top buttons would be easier to locate by feel if they had raised points (or nipples) instead of being flush with the surface of the camera.

Without lab tests to confirm, I still suspect that the Alpha 900′s 9-zone AF system won’t outgun the Nikon D3 or the EOS 1Ds Mark III, especially when it comes to tracking a moving object or one with vertical details in low light. But I had no problems locking onto fast moving butterflies, and the sharp viewfinder is one of the few that can be used successfully to fine tune manual focus. Also, the image stabilization system appeared to work well–although it wasn’t possible to see the effect through the viewfinder as you can with lens-based IS systems. Only tests will confirm if the IS system delivers the 2-4 stop advantage Sony claims, but designing an IS system that can handle a full frame sensor is quite an achievement considering the physics involved.

As for image quality, I can’t make a final judgment call based on the photos I took due to the pre-production nature of the camera. And while I shot RAW + Finest-quality JPEGs, I have yet to get my hands on Sony’s RAW conversion utility to take a closer look at the “pre-production” RAW files. I can’t wait till that software is available, since the image quality of the pre-production JPEGs blew me away, and I know the pre-production RAW files will look better when processed to 16-bit TIFF files. For samples shots I took with the preproduction version of the A900, check out the following photos:

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One thing is for certain, I am going to be pushing my 17-inch Canon and Epson printers to their limits with the photos I shot using the A900 that day. Until you zoom into a 24.6MP image and realize you are looking at a ton of detail that wasn’t even visible to the naked eye, you won’t appreciate this cameras amazing sharpness.

One last comment on resolution: I shot nearly all of my photos using a Sony 24-70mm f/2.8 Carl Zeiss Vario-Sonnar T* lens and a Sony 70-300mm f/4.5-5.6G SSM lens ($800). I’m extremely impressed by the 24-70mm, and I can’t wait to use the new Vario Sonnar T* 16-35mm f/2.8 ZA Carl Zeiss Series lens (approx. $1,800). Several times while shooting close-ups of butterflies and bees from a foot to 3 feet away I was approached by a Sony staffer and asked if I wanted to try out a 100 or 50mm macro lens. I declined for two reasons. First, getting within inches of a butterfly is nearly impossible no matter how stealthy you are. (Getting within inches of a bee is also not recommended.) Second, given the resolution of the captured image (and based on prior experience I had shooting with the 21.1MP Canon EOS 1Ds Mark III) I knew that I would still be able to crop and enlarge shots I took of these critters so that they appeared to be taken with a dedicated macro lens. Based on the number of pixels and assuming a very sharp lens, you should be able to print a full image as large as 20 x 30 inches at 200ppi. Crop the image down to ¼ size (the equivalent of using a lens with 4x the focal length, or getting closer with a macro lens) and you are still able to make up to 11×14-inch prints at 200ppi resolution. For nature photographers or paparazzi, that’s cropping power!

Photokina, the largest photo-trade show in the world, kicks off in Cologne, Germany on Sept.23. Predictably, manufacturers announce their top models just prior to the show, and this year it’s no different. Both Canon and Nikon just made back-to-back announcements of their top advance-amateur DSLRs (we’re still hopeful for pro announcements prior to the show!) In this radio segment, Scott and Mike take sides in a verbal shootout of the features to see if Canon’s 50D ($1,400) is a better deal than Nikon’s D90 ($1,000).

Which of these cameras is the best value? Listen to the spirited debate on the Inside Digital Photography radio show (slide forward to the 11 min mark for this segment).

Or do your own comparison with some help from the lists below:

Nikon D90 Key Features:

1. 12.3 MEGAPIXEL CMOS sensor with LIve View
2. Records HD movie clips (720p at 24fps, 1280×720)) up to 5 minutes on fast SD cards
3. 920,000 dot 3-inch screen
4. 4.5 fps burst mode, stores to SDHC card
5. Built-in commander mode for external flash
6. 11 point AF with scene recognition and face detection. Up to 5 faces. Auto zoom to faces in playback.
7. Live view with contrast detection AF.
8. New Expeed processor for fast start up and low noise
9. ISO 100 (normal 200) up to 3200 (expanded to 6400).
10. HD video with VR lenses activates VR during capture.
11. Advantage in movie depth of field control vs most camcorders
12. Built in audio mic (no external input)
13. Kit lens adds 3-stop VR. AF-S DX Zoom-NIKKOR 18-105mm f/3.5-5.6G ED VR.
14. New in camera editing and image processing includes distortion control, lens abberation, straighten, and fisheye effect.
15. Shutter tested to 100,000 cycles
16. Up to 850 shots CIPA rating on battery.
17. New Pictmotion slideshow playback feature
18. New optional GP-1 GPS unit.
19. $999.95 MSRP body
20. $1299.95 with 18-105 lens
21. Nikon Capture NX 2 optional ($180), Camera Control Pro 2.0 Software ($149)

Canon EOS 50D Key Features:

1. 15.1 MP CMOS sensor with live view function
2. Built like the 40D, with magnesium alloy frame, weather seals, and 100,000 cycle shutter.
3. Digic 4 processor, 14-bit A/D conversion
4. ISOs from 100 to 3200, enhanced to 6400 and 12800.
5. 6.3fps burst mode, with up to 90 JPEGs in one burst or 16 RAW
6. Takes UDMA Compact flash cards (higher capacities available than SDHC)
7. Automatic Peripheral illumination adjustment: smart term for vignetting control based on library of lenses.
8. Comes with Digital photo pro software RAW converter and other neat programs.
9. Auto Lighting Optimizer control—smart auto levels control.
10. 3-inch, 920,000 dot LCD screen.
11. HDMI video out
12. 9-zone AF system with 9 cross sensors and super sensitive central sensor (works as cross even with f/5.6 lenses.
13. Microadjustment feature for fine-tuning lenses.
14. Creative full auto setting has adjustable controls.
15. Live view mode includes QUICK MODE AF (phase detection)< LIVE MODE AF (contrast detection)< and Face detection live mode AF (contrast detection ).
16. Detects up to 35 faces!
17. Two small RAW formats: 7.1MP and 3.8MP
18. Ultrasonic CMOS sensor cleaning system
19. $1399 body, $1599 with 28-135 f/3.5-5.6 IS USM lens.
20. Canon also announced a new 18-200mm f/3.5-5.6 IS usm lens for $699.

Photokina, the largest photo-trade show in the world, kicks off in Cologne, Germany on Sept.23. Predictably, manufacturers announce their top models just prior to the show, and this year it’s no different. Both Canon and Nikon just made back-to-back announcements of their top advance-amateur DSLRs (we’re still hopeful for pro announcements prior to the show!) In this radio segment, Scott and Mike take sides in a verbal shootout of the features to see if Canon’s 50D ($1,400) is a better deal than Nikon’s D90 ($1,000).

Which of these cameras is the best value? Listen to the spirited debate on the Inside Digital Photography radio show (slide forward to the 11 min mark for this segment).

Or do your own comparison with some help from the lists below:

Nikon D90 Key Features:

1. 12.3 MEGAPIXEL CMOS sensor with LIve View
2. Records HD movie clips (720p at 24fps, 1280×720)) up to 5 minutes on fast SD cards
3. 920,000 dot 3-inch screen
4. 4.5 fps burst mode, stores to SDHC card
5. Built-in commander mode for external flash
6. 11 point AF with scene recognition and face detection. Up to 5 faces. Auto zoom to faces in playback.
7. Live view with contrast detection AF.
8. New Expeed processor for fast start up and low noise
9. ISO 100 (normal 200) up to 3200 (expanded to 6400).
10. HD video with VR lenses activates VR during capture.
11. Advantage in movie depth of field control vs most camcorders
12. Built in audio mic (no external input)
13. Kit lens adds 3-stop VR. AF-S DX Zoom-NIKKOR 18-105mm f/3.5-5.6G ED VR.
14. New in camera editing and image processing includes distortion control, lens abberation, straighten, and fisheye effect.
15. Shutter tested to 100,000 cycles
16. Up to 850 shots CIPA rating on battery.
17. New Pictmotion slideshow playback feature
18. New optional GP-1 GPS unit.
19. $999.95 MSRP body
20. $1299.95 with 18-105 lens
21. Nikon Capture NX 2 optional ($180), Camera Control Pro 2.0 Software ($149)

Canon EOS 50D Key Features:

1. 15.1 MP CMOS sensor with live view function
2. Built like the 40D, with magnesium alloy frame, weather seals, and 100,000 cycle shutter.
3. Digic 4 processor, 14-bit A/D conversion
4. ISOs from 100 to 3200, enhanced to 6400 and 12800.
5. 6.3fps burst mode, with up to 90 JPEGs in one burst or 16 RAW
6. Takes UDMA Compact flash cards (higher capacities available than SDHC)
7. Automatic Peripheral illumination adjustment: smart term for vignetting control based on library of lenses.
8. Comes with Digital photo pro software RAW converter and other neat programs.
9. Auto Lighting Optimizer control—smart auto levels control.
10. 3-inch, 920,000 dot LCD screen.
11. HDMI video out
12. 9-zone AF system with 9 cross sensors and super sensitive central sensor (works as cross even with f/5.6 lenses.
13. Microadjustment feature for fine-tuning lenses.
14. Creative full auto setting has adjustable controls.
15. Live view mode includes QUICK MODE AF (phase detection)< LIVE MODE AF (contrast detection)< and Face detection live mode AF (contrast detection ).
16. Detects up to 35 faces!
17. Two small RAW formats: 7.1MP and 3.8MP
18. Ultrasonic CMOS sensor cleaning system
19. $1399 body, $1599 with 28-135 f/3.5-5.6 IS USM lens.
20. Canon also announced a new 18-200mm f/3.5-5.6 IS usm lens for $699.

For more about my experience with the Olympus E-3 at the US Open listen to the August 30, 2008 Inside Digital Photo Radio Program (slide forward to the 11:00 min mark to get straight to this topic):

Olympus is a camera company that we all know and respect, but for years it’s lagged behind top tier DSLR manufacturers like Canon and Nikon when it came to advanced-amateur and pro-level DSLRs. The main reason? Sluggish autofocus systems that couldn’t keep up with action, especially in low light. I became acutely aware of the problem when Olympus introduced its first Four Thirds Standard DSLR, the Evolt E-1, back in 2003. After running a production model through AF-speed tests in the Popular Photography lab (where it didn’t do well at light levels below EV 5), I got invited to shoot with the E-1 at an Olympus-sponsored fashion show in NYC. The AF system was so slow and insensitive, despite spotlights illuminating the colorful runway models, that I switched the camera to manual focus—as did several other photographers in the vicinity. But manual focus wasn’t easy considering the tunnel-vision producing optical viewfinder on the E-1.

Olympus tweaked the AF speed and improved the viewfinder experience over the next few years with models including the Evolt E-300, and later models such as the E-510, but no model came close to the AF speed and sensitivity of competitively-priced Canon and Nikon systems until last fall. That’s when Olympus introduced its flagship 10.1MP E-3 (currently selling for about $1450 street price, body only) with a radically new AF engine and dramatically improved viewfinder.

Photo of Olympus E-3 used with permission from Olympus America Inc.

Olympus claimed the E-3 had the fastest AF system of any DSLR when shooting in bright light, and my tests on that camera, published in the December issue of Popular Photography magazine, confirmed Olympus’s claims. In fact, in that test report, I declared that the E-3 was the best camera Olympus had ever produced. But it’s been more than a ½ year since, the E-3 has dropped in price, and nearly every other DSLR manufacturer has introduced new DSLRs in its category—so is the E-3 still a bargain, and a top choice for photographers looking for a pro-level camera and fast AF system? I think so, and Olympus helped solidify my opinion of the E-3 by inviting me to photograph the high speed (and dramatic!) action at this year’s US Open Tennis Tournament in Forest Hills, NY. The best part was that I wasn’t left to shoot the matches from a nice, air-conditioned press suite or box seat, but was given courtside, all-access photo passes to get as close to the action as all those “pro” sports photographers shooting for national and international magazines and newspapers. Wait! Did I say not shooting from an air-conditioned press box was a good thing?

James Blake returning a serve from Steve Darcis at the US Open. A hard shot to get with older, slower-focusing Olympus DSLRs, but the top ranked E-3 was up to the challenge. Note the photographers in the “pit” behind Blake, and see more photos taken during this match and several other matches (copyright 2008 by Michael J. McNamara) in the gallery below.

I might have to rethink that decision next time I go to the US Open. After shooting from the sidelines, the pit, the roof, and on several of the surrounding courts, I now know why the pro photogs shooting these events always seem so grumpy and intolerant—especially if you happen to block their view with your lens or big head for even a split second. It’s really not as much fun to shoot one of these events as you might think. In fact, it’s a combination of grueling, hard labor—combined with a chance to get wacked in the face with a tennis ball moving faster than the eye can follow. The prize for all this? Incredible action shots of top ranked tennis players!!

Despite a relatively cool August day in NYC (only in the 80’s) sitting through a tennis set in direct sunlight while trying to capture the action can lead to heatstroke if you’re not careful or hydrated. When possible, I found myself moving out of the press shooting area on the sides to take shelter in the “pit”. That’s the area behind where the players serve the ball. In the pit, you are actually below ground shooting out an open window from about ankle-level. You face a much higher risk of getting hit by a serve (or having a ball bounce off your telephoto lens—as happened to a guy sitting next to me during a Venus Williams volley) but at least it’s protected from direct sunlight.

Because I didn’t want to get my camera bag searched every time I passed a security checkpoint (or police sniper patrol on the roof), I only took two zoom lenses and the E-3 with me. And since all of my shots were outdoors in bright sunlight, there was no need to carry an extra flash either. The two lenses were among my favorites: the Olympus Zuiko Digital 12-60mm f/2.8-4.0 SWD, and the Zuiko Digital 50-200mm f/2.8-3.5 SWD. Together, considering the 2X lens factor, I had equivalent lens coverage from 24mm to 400mm.

Photos and description of Olympus lenses used with permission from Olympus America Inc.

Here’s what I discovered. The AF system on the E-3 is super-fast, especially in this kind of environment. It captured tack sharp images and rarely locked on the background audience once I had focus on the tennis player. Set to ISO 400 to 800, I was able to freeze most action using a 1/1600 to 1/2000 sec shutter speed, and didn’t even turn on the built-in image stabilization since at those speeds it’s not going to help (and just uses more juice.) The resulting JPEG and RAW images speak for themselves, with great color, contrast, exposure, and low noise throughout. I shot over 1100 images during my courtside experience, and didn’t need to swap out the batteries (2 in the optional battery/vertical grip) till I was nearly finished shooting.

The large, bright viewfinder made it easy to track the players during volleys, but it was so bright out at the court that I rarely used the LCD monitor to chimp my shots or adjust exposure settings. It wasn’t till I got back to my home office that I wished I had done some chimping, and that was only during the shots I took of players serving the ball. Why? Apparently, the E-3’s 5 frames/sec burst mode isn’t fast enough to always capture the point in a serve where the ball comes in contact with the racket. In fact, the overhead swinging part of the serve happens so quickly that in the first frame the racket can be seen behind the head of the player as it begins its forward motion, but in the next frame the racket is nearly at waist level in front of the player. By starting the burst at a slightly different moment, I was able to capture several shots where the racket came in contact with the ball, but now I know why several pros at this event relied on Canon and Nikon DSLRs capable of capturing 8-10 frame per sec in burst mode.

The bottom line? The E-3 is a great bargain and a great performer, with sought after features such as built-in image stabilization, live view, a super-fast AF, ultrasonic dust removal, a pro body with weather seals, and excellent image quality at most ISO settings. It also has a unique rotating LCD monitor. (By the way, since it utilizes a 10.1MP sensor with a 4:3 aspect ratio, it’s capable of delivering resolution equivalent to Nikon and Canon DSLRs sporting 12.3MP, 2:3 ratio APS-C format sensors.) Now if only the E-3 had a slightly faster burst mode it would rule on the tennis courts, but for most other purposes, 5 fps should do the trick.

Photos taken with the Olympus E-3 at the US Open 2008 (Click on the View Thumbnail Images to see individual photos. Then click on the thumbnails to view larger format images.)

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To listen to this topic discussed on the Inside Digital Photo show, Aug. 16, 2008, click the play button:

On August 5, 2008 the new Micro Four Thirds camera and lens standard was announced by currently behind-the-scenes partners Panasonic and Olympus. (Unlike the original Four Thirds system team, Kodak isn’t a partner in this venture, having left the DSLR landscape for good.)
Featuring a decreased lens-to-sensor distance, 6mm smaller lens diameter, and two more electrical contacts between the lens and body, the goal of the new Micro Four Thirds system is to offer a lower calorie alternative to the current crop of DSLRs. There’s also potential for higher performance lenses (especially wide and ultrazooms) and a promise of backward compatibility with existing Four Thirds Standard lenses. But are photographers ready for another interchangeable lens standard in the crowed arena of Canon, Leica, Nikon, Pentax, Olympus Four Thirds, Sigma, and Sony lens mounts?

Time will tell, but the development of this new system didn’t surprise me–in fact I’ve been predicting it for quite some time. At the 6Sight conference in November, 2007 I made this prediction (among several others), and even got the players right:

COMPACT EVF CAMERAS:

On the high end of compact camera design there’s still lots of room for improvement. Compared to DSLRs, electronic viewfinder (EVF) cameras currently enable thru-the-lens viewing, lighter and more compact forms, and image-stabilized lenses up to 18X all at a price below comparable DSLR systems.

Currently, there is little after-market profit with these cameras in terms of lens accessories or flash, and electronic viewfinders are course and jumpy. However, as the EVF improves in sharpness and processing systems enable the ability to track motion without screen blackout, I expect the following:

1. An EVF camera with a new Interchangeable lens system. And I expect it will be developed by one of the a major Four Thirds System player such as Olympus or Panasonic. (But even Sony could pull it off.) This direct DSLR competitor would maintain a smaller, lighter form factor, and feature a vastly improved electronic viewfinder.
2. Sensor resolution would be 12MP or less, and the sensor will be slightly larger in size than current sensors used in this category. Perhaps it will be called a Two Thirds System instead of a Four Thirds system camera.
   
3. It will allow for the use (and sale) of true ultra-wide angle, bright aperture zooms that are not available in any current model. These, and other lenses in this system, will be much smaller and lighter than current DSLR lenses.
   
4. Vacuum dust removal and ultrasonic dust removal will keep sensor clean.
   
5. Image stabilization will be sensor-shift based, keeping lens prices lower.

We’ll have to see if vacuum dust removal will show up in Micro Four Thirds cameras or elsewhere, and I was wrong about these new cameras using a smaller sensor. Instead, the sensor remains the same, giving much desired backwards compatibility with existing Four Thirds Standard lenses (via an optional adapter.)