When Panasonic first announced the GH4 Micro Four Thirds camera, it created quite a bit of a stir. With it, even more so than with its Full-HD capable sibling, the GH3, Panasonic clearly aims at the professional videographer looking for an affordable 4K Ultra-HD video solution. This becomes especially clear with the full-fledged accessory interface unit that Panasonic announced alongside the camera. Now, just over a month after the original announcement, both the GH4 and the interface unit receive official pricing and availability information.
The GH4 camera body will be available at the beginning of May, at a retail price of US-$ 1,699.99, making it the most expensive Micro Four Thirds camera so far–but also the most capable. The interface unit for the GH4 can be purchased separately for US-$ 1,999.99, or in kit with the camera for a grand total of a little under US-$ 3,300.
If you’re uncertain whether the GH4 is the right 4K solution for you, take a look at our first impressions of the camera. Also, this first video footage taken with the GH4 might help you with your buying decision. Both the camera and the interface unit can be pre-ordered at B&H Photo.
Days after spotting the light leaking issues on the Sony A7 and A7r, it seems Fujifilm’s latest and hottest X-T1 mirrorless camera is having problems of its own. A German Fuji Rumors reader first spotted the light leaks coming through the ports on the camera. Reviewed confirmed the errant photons come in through the 2.5mm audio jack and HDMI output. The exposure above shows the results of taking a 30-second long exposure whilst shining a flashlight around the outside of the camera.
While it’s clear the issue exists, light leaks only really crop up while the port door is open when shooting long exposures or shining a flashlight directly into the camera. A simple fix would be to put gaffers tape over the ports to completely block out the light. Fujifilm, meanwhile, is offering a service to fix the “few affected cameras” and return them within 10 days.
Despite being clearly a camera flaw, light leaks actually affect some pro-body full frame sensor cameras including the Nikon D800E and Canon 5D Mark III. Imaging Resource put the two cameras under the microscope and found they both suffer light leak issues passing though the lens mount just like the Sony A7 and A7r. When photographers spend an arm and a leg for the best equipment, any flaw including light leaks seems like a complete insult that ruins the camera.
However, the issue only becomes apparent when shooing in some truly unusual circumstances, like ISO 25,600 and a 30-second exposure. Ferrell McCollough also demonstrated the same problem can happen by taking pictures in a studio environment with a strobe shinning directly into the lens flange of a camera. But again the issue was easily corrected by stepping a few inches away from the light. For the most part light leaks are a real problem and an annoyance, but ultimately they won’t ruin most of the photos for the average shooter.
Taking pictures of fast-moving subjects can be difficult. Pre-focusing often helps a lot.
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Taking images of fast moving subjects can be very difficult–and we’re using the term ‘fast moving’ very loosely here. A fast moving subject can be anything from a racing car coming your way at terminal velocity, to a snail trying to cross the street. Ultimately, what is fast depends on how quickly and how accurately your camera’s autofocus is able to lock on to a subject that is not holding still. Some cameras are better suited at this, while some have a hard time locking on to anything that moves only slightly.
This is one of the reasons why sports photographer usually go for high-end DSLRs, as these have the most elaborate and advanced AF systems. A very good AF system and a lens that is quick to focus are a necessity if you regularly take pictures of moving things, persons, or animals. But not every scenario that involves a subject on the move is as unpredictable as a tennis player pacing across the court. So for some situations, there is a simple but effective trick to work around your camera’s autofocus limitations: to pre-focus.
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Lots of folks when they’re first starting out (and even when they’re more experienced) bring their camera up to their eye and have their elbows and arms out and about. Even when combined with proper breathing control, you can still get blurry photos as a result of camera shake. The reason for this is because you’re not stabilizing yourself and instead your making your body more prone to shaking. The way to eliminate this problem is by streamlining your body and straightening up.
By this, we specifically mean by tucking your elbows into your body. The logic for this works similarly to taking photos otherwise–the close the camera is to your body, the more stable the photo will be. The further outstretched your arms are, the more shaky the image will be.
So what you’ll need to do is tuck your elbows into your body or as close as you can to prevent shaking.
Pass this onto to anyone who always has blurry images.
Sony announced its 16-70mm f4 lens for E Mount a while back. The lens is co-branded with Zeiss and is one of the company’s first zoom lenses for the E mount to have the moniker attached. And with a name like that, one can only expect the absolute best. With 12 lens groups and 16 elements inside, the optic has what seems like a metal construction on the outside. Overall, it also somehow or another ends up staying quite compact–which complements the E mount bodies very well. Designed for APS-C sensors, it also makes us wonder why the company only went with an f4 aperture and why not go any faster.