On both DX and FX format bodies the 85mm focal length is considered a prime candidate for portrait-photography as it gives you some distance from your subject which leads to a flattering perspective. This, combined with the capability to render blurred backgrounds with a smooth bokeh, makes 85mm f1.4 lenses very sought after.

In this review we’ll have a look at Nikon’s latest and most expensive 85mm prime, and find out whether the lens lives up to the expectations.

According to pdnonline:

Nikon portrait photographers should sit up and take notice: the new Nikkor 85mm f/1.4G is a worthy follow up its legendary predecessor. If you already own the old 85mm, this new version is not necessarily a reason to go out and empty your bank account. The improvements are subtle but noticeable and appreciated. For one, the new lens’ Nano Crystal Coating really helped reduce ghosting and flare with backlit shots so if you find yourself frequently shooting in variable lighting where the sun might sneak up on you, you’ll like this upgrade. The Silent Wave Motor also helps make this portrait lens even more discreet so you can get the shot without causing a paparazzi-like ruckus. And, most importantly, the maximum f/1.4 aperture produces stellar shallow depth of field with great background blur. We also found the lens to be more consistently sharp in the center than its predecessor when shot wide open. If you don’t already own a Nikkor 85mm f/1.4 lens, go out and get this new classic. However, if you’re on a budget, the cheaper Nikon 85mm f/1.8 or Sigma 85mm f/1.4 might suffice.

London, UK, 26th August 2010 – Canon today announces the latest addition to its world-famous EOS series of Digital SLR (DSLR) cameras – the new EOS 60D. Replacing the EOS 50D, the EOS 60D is designed for photographers who want to take their skills to the next level, offering high performance, a series of creative features, a Vari-angle LCD screen and enhanced ergonomics – empowering photography enthusiasts to capture outstanding stills and Full High Definition (HD) video for unique, creative results.

High speed, high resolution
With an 18 Megapixel APS-C sensor, the EOS 60D offers high levels of detail and a magnification of 1.6x the focal length of the lens to capture poster-size images in a variety of aspect ratios*1. Canon’s powerful DIGIC 4 technology rapidly processes image information captured from the CMOS sensor’s four-channel output, providing outstanding colour reproduction, as well as high-speed shooting at 5.3fps in bursts of 58 full-resolution JPEGs.

A standard ISO range of 100-6400 is extendable to 12800, providing smooth images with minimal noise in low light conditions. A 9-point, all cross-type autofocus (AF) system also provides swift and accurate focusing, with an extra-sensitive centre point for lenses faster than f/2.8, allowing photographers to artistically employ a shallow depth of field during portraiture or for more atmospheric shooting.

The EOS 60D features Canon’s iFCL metering system, first introduced with the acclaimed EOS 7D, with a 63-zone Dual-Layer sensor. Information on subject location is gathered from the Auto Focus system, and is combined with colour and luminance readings for consistent accurate exposures whatever the situation. The Integrated Speedlite transmitter also provides in-camera control of multiple EX flash units for more creative lighting.

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The A390 is essentially an A380 with some subtle ergonomic changes, specifically a new, more substantial grip, and a reshaped top plate. As a relatively minor upgrade, the A390 was never going to warrant a full, in-depth review, but we’re curious to see what Sony has changed in its latest midrange DSLR. When we reviewed the A380, one of our main criticisms of the camera’s handling was Sony’s change from the bulbous, almost oversized grip of the A350 to the more minimal, somewhat sharp lines of its predecessor. Has Sony taken a welcome step back in the right direction? Read on to find out.

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Source ]]> http://www.acamerareview.com/2010-super-zoom-group-test/feed 0 http://www.acamerareview.com/sony-alpha-nex-5 http://www.acamerareview.com/sony-alpha-nex-5#comments Mon, 07 Jun 2010 02:23:10 +0000 Cuzzy http://www.acamerareview.com/?p=167 Ever since Panasonic and Olympus created their Micro Four Thirds mirrorless system, all the talk has been about what the other players in the market will do. Micro Four Thirds has been steadily building its market share, seemingly without response from the three companies that account for over 80% of DSLR sales (Canon, Nikon and Sony), to the extent that ‘Micro’ risks becoming the generic term for these mirrorless systems (‘When will Brand X make a Micro camera?’ has become a fairly common thread title on our forums).

The waiting is now over as, following the showing of some mock-ups at PMA and a torrent of teasers and leaks, Sony finally officially announces its NEX system. The details are exactly what you’d expect – HD video capable APS-C sensors in small bodies. What might take you by surprise is just how small the bodies are – the NEX-5 in particular being tiny. These NEX cameras will come under the Alpha brand but do not make use of the Alpha lens mount, instead using the completely new all-electronic E-mount.

Sony has made clear that it is aiming for compact camera users who wish to upgrade (a market it estimates at around 10 million potential buyers), rather than trying to offer a second camera for existing DSLR users. And the NEX models have more in common with compact cameras than DSLRs – including very few buttons and a resolutely unconventional interface.

As part of this interface it offers not only the standard Sony option of showing a small description of each selected option, it also has a full user guide built in to the camera. Relevant sections of this guide are available in each shooting mode to give hints and advice about everything from how to hold the camera to how to archieve an out-of-focus background.

The company told us that it felt its competitors had merely miniaturized, rather than revolutionized, so it’s no surprise that the NEXs are more than just the company’s SLRs with the mirrors removed. Instead you get a wholly new system with metal-bodied kit lenses (something we didn’t expect to see again in a mainstream product), and an accessory port instead of a conventional flash hotshoe.

As with Samsung and Panasonic, Sony’s background is electronics (rather than cameras) so the incentive to move away from the optically complex DSLR design to one based more around electronic displays makes sense. Sony’s situation is a little different in that it bought the respected Minolta brand and know-how but, despite plenty of new models, it has only been able to make a big impression on the DSLR market in a few selected regions. Consequently, it’s understandable that it might want to combine its DSLR knowledge with its electronics expertise to establish some compelling competitive advantage.

Three E-mount lenses are being announced alongside the cameras – an 16mm F2.8 pancake, a standard 18-55mm F3.5-5.6 stabilized kit zoom and a stabilized 18-200mm F3.5-6.3 superzoom. Although the company talks a great deal about shallow depth-of-field, none of the lenses initially offered will offer a great deal of control in that respect.

Sony is also taking the unusual step of offering screw-on adapterlenses for its 16mm F2.8 pancake lens (they attach to the bayonet of the lens so can’t be used with other lenses). In a manner familiar from compact cameras, it will be possible to adapt the lens from its usual 24mm equivalent field-of-view using either an ultra-wide adapter taking it to 20mm equivalent or a fisheye that gives a 16mm equivalent view.

A mount adapter will be available, giving the ability to use Sony and Minolta Alpha-mount lenses. The LA-EA1 adapter will have a motor to control the lens aperture but nothing to driving the autofocus (they can’t currently focus SSM and SAM lenses with built-in focus motors either). We have no pricing for the adapter yet but suspect the additional mechanical complexity of providing aperture support may mean it’s worth thinking very hard about how much it’s really worth to retain compatibility.

Credit to: dpreview