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Screenshot taken from the video

Screenshot taken from the video

Photographer Mark Wallace recently switched from using Canon DSLRs to the Leica M as his primary camera kit. While many videos like this have been long and thorough, they spend much less time focusing on gear and more time on feature sets–with the most famous being Jason Lanier’s.

Wallace talks about how he is replacing lots of the zoom lenses in his Canon kit with small primes. For example, the 16-35mm f2.8 L is being replaced by the Leica 21mm f3.4 and his 70-200mm f2.8 L IS USM II is being replaced by a 135mm prime. He spends a lot of time talking about weight and size–specifically in regards to how it affects him when he is travelling as a photographer. Wallace cites situations where he is wearing over 60lbs of gear and needs to run for a subway or a cab–which can sometimes be all too much of a reality for NYC photographers.

The majority of the video talks about the gear with only the last couples of minutes getting to the real meat of the deal–and could have been cut down tremendously to just focus on the nitty gritty. Mark explains that in a place like where he is in Brazil, DSLRs can get easily stolen. But a Leica rangefinder on the other hand is ignored somewhat. Indeed, rangefinders can be very fooling and are much more low profile except to those that actually know better.

Mark Wallace’s video for AdoramaTV is after the jump.

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D5500_BK_18_55_front

For CES 2015, Nikon is announcing a refresh to some of their lower end and higher end products. We start with the new Nikon D5500. The D5000 series of cameras have always been a bit of a step up for the enthusiast, but not quite as high as the D7000 series of DSLRs. In our meeting with Nikon, we found the D5500 to be very small–pretty much as small as a Sony A7 Mk II. It’s also equally as comfortable in the hand.

The new Nikon D5500 has a 24.2MP APS-C sensor with no OLPF, and a 3.2 inch vari-angle LCD touch screen (yes, touch screen), the EXPEED 4 imaging processor, ISOs ranging from 100-25,600, 5 fps shooting, and similar video capabilities to the D750. According to the press release “The Nikon D5500 will be available in early February, in black and red, in two different kit configurations: alongside the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR II lens for a suggested retail price (SRP) of $999.95″

Nikon is also introducing a new version of their 55-200mm f4.5-5.6 that has a compacting and locking mechanism to make it smaller for easier storage and carry. The company claims three stops of VR with the lens and also states that a silent motor has been built in. But they’re also announcing an update to their 300mm f4 lens, with it now being called the 300mm f4 E PF ED VR. This lens is 30% shorter than the now aged version and is also 1.5lbs lighter according to the press release issued today.

The AF-S DX NIKKOR 55-200mm f/4.5-5.6G ED VR II and AF-S NIKKOR 300mm f/4E PF ED VR lenses will also be available in early February for an SRP of $349.95* and $1,999.95*, respectively.

More images are after the jump.

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The Nikon D750 has been a very successful camera getting rave reviews (including our own) and being commercially picked up by many wedding photographer. But all is not well as several D750 owners are reporting a dark band issue that appears on the top edge of the frame. The problem seems to only appear when there’s lens flare in the image where it produces an ugly separation between the top of the photo and the rest of the frame.

Users began reporting the issue a month ago and now after much discussion Tomasz Piotrowski a Polish Nikon forums user on Nikoniarze, has discovered the culprit. Upon comparing two Nikon D750 cameras, Tomasz discovered the source of the problem comes from the autofocus sensor module positioned directly in front of the D750’s mirror box.

It appears the autofocus sensor should sit flush with the bottom of the mirror box. However, the “bad units” afflicted by the dark band issue have a sensor unit that protrudes slightly by just a few millimeters and apparently this small difference is enough to cause a big issue. More analysis after the jump.

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Chris Gampat The Phoblographer Canon 7D MK II review product images (3 of 10)ISO 4001-30 sec at f - 4.0

Canon has classically always supplied its own sensors for most cameras it makes, with one of the big exceptions being a possible Sony sensor for the Canon G7x. Now early reports from Canon Watch suggest Canon will soon release a new DSLR featuring a 46MP Sony sensor.

The announcement of such a camera will purportedly follow shortly after Sony announces a camera of its own featuring the high-megapixel sensor—the Sony A7r Mk II seems the most likely candidate. While the camera will have a high-MP Sony sensor, Canon will supposedly stick with its own color filter array and processing engine with plans to make color accuracy a big sticking point. In our experiences, that’s Canon’s biggest strength when it comes to their image quality.

A separate report from Canon Rumors support the rumors. The site heard from another source that Canon would introduce a high-megapixel camera in 2015. A few more details also suggest the camera will not have an EOS-1 styled body and should have a sensor with around 50MP of resolution.

Now for a spot of Fujifilm news, Fuji Rumors has learned the XF 16-55mm f2.8 will come in early 2015 without optical image stabilization. After wrongly stating that the fixed aperture zoom lens would feature OIS in the Fujifilm Magazine, Fujifilm quickly corrected itself with the following statement.

“The IQ of this lens is going to be amazing. OIS takes physical space, which means the lens elements can’t be precisely where they need to be to allow for the absolute best image quality. We feel that it will be a better lens without it.“

Fuji manager Hisashi Toshi said the price of the lens would be around 120,000 Yen (about $1,010) in an interview with Herald Corp (Google Translate). This is the second most expensive lens from Fujifilm—just a few hundred dollars behind the XF 50-150mm f2.8 and XF 56mm f1.2 APD—but it’s another sign Fujifilm is aiming for the high-end mirrorless market. 

Chris Gampat Digital Camera Review Nikon D7100 product photos (1 of 7)ISO 5001-200 sec at f - 5.0

New early reports on Nikon Rumors suggest that the Nikon D7200 will inherit many features from the Nikon D750 including a similarly styled body complete with a rotating screen. Supposedly the high-end APS-C body will also include built-in Wi-Fi, which suggests it will also be made with a carbon composite front plate like the D750 rather than a fully magnesium build like the two previous models. For what it’s worth, my time with Nikon’s recent full-frame DSLR proved this plastic front was tough enough to stand up to all my roughhousing.

As for the underlying tech, the D7200 will purportedly feature a 24MP sensor paired with Nikon’s latest Expeed 4 processor. The autofocus system will also supposedly be similar to that of the D750, except remodeled into a DX variant labeled the MultiCAM 3500DX2 autofocus system but still keep to 51 AF points.

Burst shooting is rumored to keep to a moderate 6fps while the buffer will be able to handle 16 RAW+JPG files consecutively. This leaves plenty of room for a new D300s level professional sports shooting camera to compete with the likes of the recently updated Canon 7D Mk II.

There’s no word on a possible release or announcement window, but with CES coming in a few weeks we’re hoping to see it first in Las Vegas. Stay tuned for more and check past the break for more rumored Nikon D7200 specifications.

Via Nikon Rumors

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Fujifilm xt1

In the year 2014, it’s become very clear that the mirrorless camera industry is the future and that the DSLR is steadily being phased out. We’re not going to say that it’s dead because many people still purchase DSLRs in droves. But after the jump, you will see a major round up of mirrorless cameras released vs DSLRs.

One number is more than double the other.

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