2021-03-01 Australian Camera

CANON ON TRIAL

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1 Test images all taken handheld with
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a Canon EOS R using JPEG/large/fine

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1-Point AF area mode and Landscape

3 Picture Style preset. Sharpness is truly
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exceptional, with excellent centre-to-

corner uniformity, which is also true

of brightness. The special multi-layer

4 Diffractive Optical element very effectively
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aberrations. Flare or ghosting aren’t an

issue with such narrow angles-of-view.

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50

ON TRIAL CANON

the micro-fine pitch of the BOTH LENSES HAVE factors that could easily affect VITAL STATISTICS
diffraction grating gives the same OPTICAL IMAGE sharpness, including even very
optical characteristics as a ground STABILISATION, slight camera shake, vibrations CANON RF 600mm
and polished aspherical surface, SO HANDHELD from the mechanical shutter and f/11 IS STM
so the DO element also very SHOOTING IS heat haze (which means you may
effectively corrects for spherical FEASIBLE, EVEN well have to invest in a UV filter) Format: Full frame (i.e. 35mm format)
aberrations. As a result, there are WITH THE 800MM. and high-ISO noise. In bright digital sensors.
no other special elements in these HOWEVER, BOTH conditions, you’ll certainly have Angle-of-View: 4.1 degrees (diagonal on
optical designs. LACK CANON’S more leeway with elements such 35mm).
‘CO-ORDINATED as shutter speeds, but in more Construction: 10 elements/7 groups.
The focusing drive is via a CONTROL IS’. marginal light levels you’ll have to Minimum Focus: 4.5 metres.
stepping motor (STM) and the pay close attention to what’s going Maximum Reproduction Ratio: 1:7.1.
focusing group moves internally, particularly with subjects heading on with the exposure settings. Aperture Range: Fixed at f/11.
so there’s no change to the towards you at speed – manual Using the electronic shutter will Overall Length: 199.5mm retracted,
overall barrel length and the front prefocusing may work better eliminate any vibrations and is a 269.5mm extended.
element doesn’t rotate. Should especially with the fast 20fps good idea anyway when shooting Maximum Diameter: 93.0mm.
you be thinking about going shooting speeds of the R5 and R6. wildlife as it also eliminates noise. Filter Diameter: 82mm.
down the filter route to protect Weight: 930 grams.
the front element rather than Optically both lenses are The 600mm is more of an Lens Mount(s): Canon RF.
buying the optional lens hood, the superb with excellent sharpness all-rounder and easier to work with Features: Multi-function lens control ring
screwthread fittings are 82mm across the frame – as you’d in terms of viewfinding, focusing (aperture, shutter speed, ISO or exposure
for the 600mm and 95mm for the expect at f/11 – and negligible and subject tracking, but both compensation), one Diffractive Optics
800mm… so the hood is easily vignetting or brightness fall-off. these lenses demand a lot more element (DO – gapless dual-layered dif-
the cheaper option! There’s no distortion, no flare user input and involvement if fractive optics), Stepping Motor (STM)
or ghosting (perhaps not so you’re to get the best from them. autofocus drive with Dual Pixel CMOS
The minimum focusing surprising given the very narrow AF II support, optical image stabilisation
distances are 4.5m for the angles of view) and virtually THE VERDICT (with ‘Dual Sensing IS’, three modes and
600mm and 6m for the 800mm, no chromatic aberrations. Both up to five stops of correction, six stops
neither of which can hardly be lenses support in-camera lens The good news is that the pros with EOS R5/R6 camera bodies), focus
considered close-up. This is corrections provided by the EOS easily outweigh the cons with limiter switch (full/12 metres to infinity),
reflected in the shared maximum R series bodies for vignetting and these lenses, which represent built-in tripod mounting foot. Compatible
magnification ratio of 1:7.1 (i.e. distortion and, via the ‘Digital Lens a hugely affordable entry into with RF Extenders 1.4x and 2.0x.
one-seventh life size) for both Optimiser’, additionally for lateral supertelephoto photography. Price: $1,399, average estimated street
lenses. Consequently, these are chromatic aberrations, spherical The affordability comes at a price price. Five year warranty on purchases
pretty much ‘big game’ lenses if aberrations and diffraction. Frankly – chiefly the fixed aperture and made from authorised Canon Australia
you’re shooting wildlife or birds, though, you could switch all this the lack of weather sealing – but dealers.
as you simply can’t get close off and not notice any difference in Canon hasn’t skimped on the Distributor: Canon Australia Pty Ltd,
enough with very small subjects. the images. optical performance, delivering the telephone 1800 021 167 or visit
On the 600mm, the focus limiter most convincing application of the www.canon.com.au
reduces the distance range to 12m Incidentally, Canon says the DO element technology seen so
to infinity while on the 800mm, fixed aperture is perfectly circular, far. Not only does it provide a very CANON RF 800mm
the minimum focusing distance so it produces exceptionally high level of correction for various f/11 IS STM
becomes 20m. smooth out-of-focus effects which aberrations, it also allows for a
is important when you’re dealing much more compact and lighter Format: Full frame (i.e. 35mm format)
PERFORMANCE with such a shallow depth of field weight optical design. EOS R- digital sensors.
(even at f/11). This also makes series users can now enjoy a level Angle-of-View: 3.05 degrees (diagonal
Supertelephotos are inherently accurate focusing a whole lot of supertelephoto compactness on 35mm).
slower to focus, but both the f/11 more critical and we encountered and portability that was previously Construction: 11 elements/8 groups.
lenses are still pretty fast when quite a few situations where using only available with the crop-sensor Minimum Focus: 6.0 metres.
you’re shooting stationary the smaller, more selective AF lens systems. The 600mm, in Maximum Reproduction Ratio: 1:7.1.
subjects. They’re also totally silent area modes (such as 1-Point AF particular, is so cheap and Aperture Range: Fixed at f/11.
– good news for wildlife and birds. or the five-point Expand AF) were compact, you could just keep it in Overall Length: 281.8mm retracted,
However, tracking can be tricky necessary to precisely target your camera bag ready for 352.8mm extended.
with fast-moving subjects. a subject or even just part of whenever you wanted it, rather Maximum Diameter: 101.6mm.
a subject. than only taking it out on special Filter Diameter: 95mm.
As noted earlier, you first have occasions. And it’s not going to tip Weight: 1260 grams.
to actually acquire the subject in Of course, at such high you over the limit for airline carry- Lens Mount(s): Canon RF.
the viewfinder – hard with the magnifications there are other on bag weight restrictions either. Features: Multi-function lens control ring
600mm and harder still with the (aperture, shutter speed, ISO or exposure
800mm – and then be able to Canon is really picking things up compensation), one Diffractive Optics
follow it so the AF can keep on- with its EOS R full-frame mirrorless element (DO – gapless dual-layered dif-
track. As also noted previously, the system, obviously keen to make fractive optics), Stepping Motor (STM)
R5 and R6 will do a better job here up ground as quickly as possible, autofocus drive with Dual Pixel CMOS
thanks to their AI-based subject particularly on Sony. The quirky, but AF II support, optical image stabilisation
recognition, but there is a limit brilliant f/11 supertelephotos are (with ‘Dual Sensing IS’, three modes and
to just how quickly these lenses two more compelling reasons for up to four stops of correction, five stops
can adjust focus… so faster- signing up to the RF mount. with EOS R5/R6 camera bodies), focus
moving subjects that are closer limiter switch (full/20 metres to infinity),
will be more of a challenge to built-in tripod mounting foot. Compatible
keep up with for both you and the with RF Extenders 1.4x and 2.0x.
autofocusing. In some situations – Price: $1,799, average estimated street
price. Five year warranty on purchases
made from authorised Canon Australia
dealers.
Distributor: Canon Australia Pty Ltd,
telephone 1800 021 167 or visit
www.canon.com.au

51

ON TRIAL

CANON

RF 100-500mm
f/4.5-7.1L IS USM

THE LONG AND THE SHORT(ER)

Canon has again exploited what can be achieved optical engineers had missed that
in lens design with the mirrorless configuration, memo… the RF 28-70mm f/2.0L
creating a more compact and lighter telezoom that USM zoom for one which, at
delivers exceptional optical performance. the time, we described as “truly
massive, but magnificent”. Since
A mong the various designs once the mirror box is can do with an optical then Canon has really started to
incentives for out of the way. The shorter flange construction, including making exploit all the potential of mirror
ditching the long- distance – or back focus distance them more compact. lenses, perhaps most notably with
serving reflex – makes it easier to achieve more the RF 70-200mm f/2.8L IS USM
uniform centre-to-corner sharpness When Canon first launched its zoom, which is three-quarters the
configuration for and consequently there is more RF mount full-frame mirrorless weight of its EF mount cousin and
flexibility with what lens designers system, there were a couple of delivers better optical performance
interchangeable lens cameras is early lenses that looked like its in a number of key areas.

what can be achieved with lens Now, Canon has done it again
with the RF 100-500mm f/4.5-7.1L
IS USM telezoom for which there
isn’t a direct EF mount equivalent,

52

ON TRIAL CANON

but the comparisons with the EF “THANKS TO ITS SIZE noted, a detachable tripod Reducing colour fringing is a
100-400mm f/4.5-5.6L IS II USM AND WEIGHT, THE RF mounting collar. There are four key to optimising sharpness –
are telling. Obviously, for starters, 100-500MM IS QUITE control rings, the biggest being for especially towards the edges of
you get the extra 100mm of focal MANAGEABLE FOR zooming and it’s accompanied by the frame – and also ensuring
length (with the inevitable slight HANDHELD SHOOTING, a torque adjustment ring that can cleaner separation from the out-of-
loss of lens speed), but you don’t ASSISTED BY HAVING be rotated between ‘Smooth’ and focus areas. The 12-pin interface on
have to pay for this with a lot of OPTICAL IMAGE ‘Tight’ to vary the weighting. This the RF mount enables more scope
extra physical length, at least in STABILISATION.” essentially translates into speed- for in-camera lens corrections
terms of carrying and storing… versus-precision, but it’s also about which include vignetting and
the 100-500mm is just under barrel diameters are essentially what feels the most comfortable distortion, plus the Digital Lens
208mm compared to the 100- the same – 93.8mm for the 100- to operate. As an RF mount lens, Optimiser processing in the
400mm’s 193mm. That said, the 500mm and 92.0mm for the 100- the 100-500mm also has the multi- EOS R bodies that additionally
100-400mm zooms internally 400mm – so both lenses have a functional Control Ring – located corrects for lateral chromatic
while the 100-500mm has a 77mm screwthread filter fitting. It closest to the lens mount – which aberrations, spherical aberrations
trombone-type mechanism, so it should be noted here that the front can be set to adjust apertures, and diffraction. Canon’s advanced
is quite a bit longer (roughly by section of the lens doesn’t rotate shutter speeds, ISO settings or Air Sphere Coating helps minimise
90mm) physically by the time you during zooming, so orientation- exposure compensation. Having flaring and ghosting caused by
get to 500mm. Is this an issue? sensitive filters remain in their these available on the lens itself internal reflections.
Not really, as it doesn’t upset set positions. can be a lot more convenient than
the balance even when shooting referring back to the camera body, The focusing system is similar
handheld, and Canon claims Thanks to its size and weight, especially for ISO or exposure to that of the RF 70-200mm f/2.8,
it’s still been able to effectively the RF 100-500mm is quite compensation adjustments that and employs dual focusing groups,
weather-proof the telescoping manageable for handheld shooting, you’d typically make on-the-fly. The each driven by its own Nano
barrel. Incidentally, the first version assisted by having optical image final control collar is for manual USM motor. This arrangement
of the 100-400mm worked the stabilisation of up to five stops focusing and is fly-by-wire rather is designed to improve the
same way, but Canon switched to of correction for camera shake than mechanical, and is only optical quality at shorter focusing
the internal zooming arrangement (incidentally, one stop more than active when you switch to manual distances (and, again, particularly
with the Mark II lens – which was what’s available with the EF 100- focusing (but can be switched to corner sharpness). However,
launched in late 2014 – to allow 400mm’s OIS). Given neither the serve as a full manual override via the dual-drive arrangement also
for weather sealing. Clearly in the EOS R nor the RP have in-body a setting in the R-series bodies). delivers increased speed while also
intervening time, it’s been able to stabilisation, OIS is a must for reducing the power consumption,
find a workable solution as the RF a lens that extends to 500mm. There are also four switches on plus it’s smoother and quieter, both
70-200mm f/2.8 has a telescoping In conjunction with the IBIS in the lens barrel and these comprise of which are advantageous when
zoom design too, and is also fully the EOS R5 and R6 duo, the the aforementioned AF/MF shooting video.
weather-sealed. Presumably, the correction range increases to six selector and a focus range limiter,
100-500mm uses the same dust stops and there are five axes of plus the optical stabiliser’s on/off The minimum focusing distance
filter arrangement between the movement, not just two. The OIS and mode selectors. is 90cm at 100mm, and then
two barrel sections. As also part has three modes for shooting extends to 1.2 metres by 500mm
of the all-weather capability, both stationary subjects, for panning INNER WORKINGS to give a maximum reproduction
lenses have fluorine coatings on (which essentially switches off ratio of 1:33 (i.e. one-third life size),
the exposed surfaces of the front the horizontal movement) and for Inside, the 100-500mm has an which is virtually the same as the
and rear elements to help repel subjects that are moving erratically. impressive optical construction 100-400mm at 400mm when its
moisture and grease while also comprising 20 elements in 14 minimum focusing distance is
enabling easier cleaning. The main barrel tubes are groups – one element less than
magnesium alloy with, as just the EF 100-400mm. There are a
On the scales, the RF 100- total of seven special elements,
500mm is actually lighter than the all with extra-low dispersion
RF 100-400mm – 1.37kg versus characteristics to minimise axial
1.55kg, both minus the tripod- chromatic aberrations. In Canon’s
mounting collar although, in the optical lexicon, one of these
case of the DSLR lens, only the elements is a ‘Super UD’ type
foot plate detaches rather than and the rest are plain old ‘UD’,
the entire ring assembly. The the initials standing for “ultra-low
dispersion”.

S Weather sealing measures S Tripod mounting collar is fully S Zooming is via a telescopic S Control panel includes a focus
include a rubber gasket around detachable, and the 100-500mm mechanism designed to avoid range limiter and the selector for
can be very comfortably used compromising the lens’s weather the image stabiliser modes.
the lens mount. handheld. sealing.
53

CANON ON TRIAL

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Test images taken with the Canon RF 100-
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0 Sharpness is excellent at any focal length,
even when shooting wide open. The fall-
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aberrations, making this lens one of the
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54

ON TRIAL CANON

98cm. The focus range selector “THE OPTICAL aperture). Sharpness is, put simply, Exhibit A for the prosecution. It
can be set so the minimum PERFORMANCE IS exceptional with the corners makes the most of what’s possible
focusing distance becomes three ALSO MUCH LESS holding up exceedingly well at any with the reductions in size and
metres, and the AF won’t waste COMPROMISED focal length and when shooting weight along with enhancements
time in the close-up range. THAN YOU WOULD wide open. There is a slight fall-off to optical performance (the two
NORMALLY EXPECT beyond 300mm when shooting at being linked, of course, by the
The diaphragm employs nine FROM A TELEPHOTO the widest apertures, but it is only need for fewer elements).
blades to give a rounder aperture ZOOM, ESPECIALLY AT slight and much less than we’ve Consequently, here is a long
and hence smoother out-of-focus THE LONGER FOCAL been accustomed to seeing with telezoom for the full frame format
effects. From around 200mm LENGTHS.” telezooms for DSLRs. In many that’s also an ‘everyday’ lens
onward, the 100-500mm is cases, it just won’t be noticeable. because it’s easy to carry,
marginally slower than the 100- (further enhanced if you have an comfortable to use handheld and
400mm at the same focal lengths, IBIS-equipped EOS R-series body), There’s minimal distortion largely uncompromised by its focal
but it’s minimal and the step on useful close-up focusing with only very slight pincushion- range and length. It’s certainly not
to 500mm comes at the cost of capabilities, full weather sealing type bending occurring between a cheap lens, but when you factor
about another half-stop’s loss. and the potential for even better 150mm and 500mm and unlikely in the versatility and the promise
The minimum aperture range is AF performance when used on to be noticeable in most shooting of great results at any focal length,
f/32 at 100mm to a pin-point f/51 either the R5 or R6. situations. Both flare and ghosting the RF 100-500mm is actually big
at 500mm, by which time you’re are very effectively suppressed, on value too.
going to well and truly need that The optical performance is as is lateral chromatic aberration,
in-camera correction for the effects also much less compromised than which is totally eliminated by VITAL STATISTICS
of diffraction. you would normally expect from the in-camera processing, but is
telephoto zooms, especially at still largely negligible otherwise CANON RF 100-
Should you decide that you the longer focal lengths. Much of with very slight fringing in the 500mm f/4.5-7.1L
need to go longer, the RF 100- this is down to what’s possible magenta-to-green range evident IS USM
500mm is compatible with the with the mirrorless configuration, at the 500mm focal length. In $4,999
RF mount teleconverters deliver but it makes the RF 100-500mm pure optical terms then, Canon
a 1.4x or a 2.0x increase in focal much more of an all-rounder has done a mighty job with this Estimated average street price
length. However, they lock-out the than would be the case with lens, optimising both sharpness
100mm to 300mm focal range so a DSLR equivalent. As we’ve and contrast while successfully Format: Full frame (i.e. 35mm format)
you effectively end up with either noted elsewhere, it’s arguably minimising any and all aberrations. digital sensors.
a 450-750mm or a 600-1000mm the advances in lens design and The EF 100-400mm – while also a Angle-of-View: 24-5.0 degrees (diagonal
telezoom. performance that will be the main superb lens – just can’t match it for on 35mm).
reason many DSLR users decide to aspects such as corner sharpness Construction: 20 elements/14 groups.
PERFORMANCE switch to mirrorless ahead of any at any focal length and the image Minimum Focus: 90cm at 100mm, 1.2
camera body-based benefits. quality at the closest focusing metres at 500mm.
In terms of size and weight, the distances. Maximum Reproduction Ratio: 1:3 (at
100-500mm is very similar to What’s most noticeable is the 500mm).
a 70-200mm f/2.8 in the DSLR improvements in the uniformity of If you’re using the EOS R or Aperture Range: f/4.5-7.1 to f/32-51.
world. It’s obviously a lot slower both centre-to-corner sharpness RP then you’ll need the latest Overall Length: 207.6mm.
in comparison, but the wider and brightness across the entire firmware upgrades to optimise Maximum Diameter: 93.8mm.
and longer focal range is hugely focal range. Vignetting is only the AF performance (Version 1.8.0 Filter Diameter: 77mm.
versatile and covers a whole range very slight even when shooting and 1.6.0 respectively), particularly Weight: 1.37 kilograms (without tripod
of applications from portraiture wide-open and closing down a the responsiveness and speed. mounting collar).
to sports, action and wildlife. It stop eliminates it completely And even then the subject tracking Lens Mount(s): Canon RF.
can be comfortably handheld and (although the in-camera ‘Peripheral can still be a bit hit-and-miss Features: Magnesium alloy barrel tubes
certainly isn’t overly taxing to carry Illumination’ correction is even especially with smaller subjects with sealing against dust and moisture,
around for long periods of time more effective and at any (we were using the EOS R) which, fluorine anti-smear coating on front
or even when hiking. Better still, we suspect, wouldn’t be the case and rear elements, multi-function lens
there are very few compromises, with either the EOS R5 or R6 (in control ring (aperture, shutter speed, ISO
thanks to the optical stabilisation fact, our online sister publication or exposure compensation), dual ‘Nano
Digital Camera World reported a USM’ autofocus drives, two aspherical
T Canon has made the most of “practically 100 percent hit rate” elements, six ultra-low dispersion (‘UD’)
what’s possible with designing with the R5 (which is not so glass elements, one ‘Super UD’ ultra-low
lenses for mirrorless cameras surprising given its smarter dispersion glass element, optical image
by packing the 100-500mm focal AI-based tracking). stabilisation (with ‘Dual Sensing IS’, three
range into a lens that’s about the modes and up to five stops of correction,
same size as the EF mount 100- THE VERDICT six stops with EOS R5/R6 camera bodies),
400mm (and is actually lighter Canon ‘Air Sphere Coating’ (ASC) multi-
in weight) Obviously there are quite a few coatings, nine-blades diaphragm, focus
camera-related benefits derived limiter switch, zoom lock, detachable
from the mirrorless configuration, tripod mounting collar. Bayonet-fit metal
but it’s really what’s now possible lens hood and carry pouch supplied.
with lens design that presents Price: $4,999, average estimated street
the most compelling arguments. price. Five year warranty on purchases
And Canon is really starting to made from authorised Canon Australia
push the point with its recent dealers.
RF-mount offerings, most notably Distributor: Canon Australia Pty Ltd,
the 70-200mm f/2.8 and now the telephone 1800 021 167 or visit
100-500mm, which is undoubtedly www.canon.com.au

55

OCIFRLCILFEE

BRUCE USHER

A lifetime of photography – from B&W
surfing action in the 1960s to a deeply
personal contemplation of the Australian
bush and a sharp eye for the interplays on a
busy city street – is documented in a visually
enthralling and engaging new book by
Sydney-based photographer Bruce Usher.

INTERVIEW BY PAUL BURROWS

Regular readers of
Australian Camera will
be familiar with Bruce
Usher’s contributions
to this magazine,
whether they be his
precisely-balanced portraits for
the A Few Of My Favourite Things
features – as much about the art
of communication as photography
– or his insightful interviews of
photographers young and old, and
from all fields of the profession.
After essentially two long
careers in photography – one
as a corporate and advertising
photographer, and the second
as a versatile freelancer – Bruce
has collected all his philosophies,
ideas, influences and, of course,
favourite images into a book called
Coast Tree Street.
The title categorises – as much
as possible – the three main
subject areas that have stimulated
Bruce’s photography from the
earliest days to the present when
he has more time to pursue the
pictures he wants to make. At first,
it might be hard to see how the
three are linked, but they represent
Bruce’s journey.
“Well, it’s a bit like life, isn’t it?”
he states. “A lot of us live in cities,
but we like to escape to the coast
and we get our oxygen from the
trees. It’s a bit of a circle. I mean,
if the photos were arranged in a
different way, it could have just
been a book on Australia.”
However, it isn’t and, this
being Bruce Usher, there’s a lot
more responsible for how he
distilled a lifetime behind the
camera into three small words –
’coast’, ‘tree’ and ‘street’. What is
immediately noticeable, though,
is a consistent vision. All the
images are beautifully seen in the

All photographs by Bruce Usher, copyright 2021. It’s important camera – an Usher attribute that study and analysis to realise the looking and seeing, but for me
photographers has always made his photography full implications. I think this has come about
know how to something rather special – and because I’ll simply keep working
balance freedom executed with a clarity of mind Looking And Seeing at something until I get what
of expression with that seems to almost instinctively I want. So I’ll keep practicing,
the requirement sense a visual balance through “The weird thing is,” Bruce says. practicing and practicing; and
to respect framing and composition. While “I’ve gone back in my life to try learning from every image I take…
personal space. often uncomplicated in execution, and work out how I first started looking at the composition, looking
Bruce’s photographs can be far seeing graphically. What was the at the lighting, looking at the
more complex in content than transition from what was quite backgrounds. Then, all of a sudden,
initially meets the eye. Yet he sees ‘straight’ seeing to more graphic everything coalesced.
it all in a flash, while the rest of us seeing? And, to be honest, I can’t
have to spend some time in careful quite work it out. It is, to some “It’s really like commercial jobs
extent, the difference between – the more you shoot, the better

57

you’ll get. And, as a result of that,
you’re also seeing more. I started
to see things that I hadn’t seen
before. And also it’s about building
confidence, particularly with street
photography and shooting people,
without being obvious.”

Bruce talks about seeing things
he hadn’t seen before, but he also
sees a lot that most other people
would miss – the shapes created
by shadows, the ironic elements
of a background or the poignancy
of a precise moment. It’s as if he’s
much more intimately engaged
with his surroundings than
anybody else who might be there
at the same time.

“I think I always have been. I
think it goes back to growing up
with surfing photography in my
early teens. You’re looking at a
horizon – that’s your horizontal
line – and you’re looking at a wave
– that’s your diagonal line – and
so you’re already starting to see
geometrically. But then I also
think that there always has to be
some element of mystery in a
photograph, so I’m always looking
for things that can’t be easily
explained by the viewer.”

Setting The Stage

As much as Bruce’s photography
is about seeing and timing, it’s
also very much about composition
or, more accurately, his particular
interpretation of how elements are
arranged within the frame.“I think
I’ve always had a reasonable eye
for balance – at least since my mid-
20s – but then you evolve and you
start to do things differently, you
start to break it down. You might

I also think that have the subject in the bottom into a dynamic image. In these and street photography and, All photographs by Bruce Usher, copyright 2021.
there always right-hand corner and other stuff situations, he’s prepared to wait for indeed, the coinciding of events
has to be some around it. But a lot of this is now the magic to happen. “You’ve got and experiences have been the
element of instinctive for me; I can sense to find that stage and then think catalysts in his exploration of
mystery in a when everything is working, but about who are the impromptu each… despite the three being
photograph, so often it’s just one or two frames actors who are going to perform quite different.
I’m always looking and then that moment has gone.” within it. If you wait long enough
for things that – and the light stays with you – “As a result of showing the
can’t be easily Bruce explains that he’ll these pictures generally happen.” surfing film, A Winter’s Tale, in
explained by sometimes see a ‘stage’ – a Newcastle on 1 May, 1974, I
the viewer. setting with pictorial potential Catalysts happened to be there for a May
because of the light or location, Day rally. I had a Mamiya twin-
58 but missing an element, usually a Bruce sees a logical link between lens reflex camera and one roll
person or people, that would turn the three areas of coast, tree of film – so just 12 frames – but







60

All photographs by Bruce Usher, copyright 2021. that was what got me started in bushfires in history. a foreground, the middle and angle and slowly be transported
street photography. Then I bought “Actually, some of the first shots the background and things are to another time and place.”
a second-hand Leicaflex – with happening all the way through.
two or three lenses – which was I did of fire – the impact of fire – A lot of my photography now is Coast Tree Street will be available
better suited to street photography were back in 2006 when I was first very personal… very solitary. But I from mid-March priced at $90 hard
and I was really motivated by the talking to Ross Renwick. There love the calming solitude of sitting cover (or as a cased and numbered
potential. was a big fire happening then and alone in the bush. That stillness as limited editionof 100 copies for
I immediately started to wonder a tree emerges or morphs from $200). To order a copy go to
“But then, for one reason or what the Angophoras would look within the green, black and brown www.bruceusher.com.au.
another, I really didn’t do any more like afterwards. I had no idea, mosaic. The dance to find the right
until I started living closer to the so I drove up to the location and 61
centre of Sydney and it was much the fire was still active, but I
easier to get into the city. That managed to get in and, basically,
convenience was what rekindled the Angophoras didn’t burn. Then,
the love of street photography… a few years after that, I was down
I could just wander around at any around Mount Hotham, and all the
time with a camera and then I mountain ashes had been burnt
started to see things, but it took out a couple years before, but the
between 18 to 24 months for landscape was just so surreal.
it to all to come together. For
instance, I didn’t start to notice “I’ve deliberately not used any
the backgrounds for a long time, sensational photos of the fires –
I was just trying to shoot people. they’re really not very photogenic
But then I’d start to stake out a – and instead I concentrated on
background and wait to see who what’s happened to the landscape
came through it.” in the immediate aftermath – the
colours, the shapes, the patterns.
Tree Change
“The book is really a mixture of
“The trees thing came out of a all sorts of approaches, especially
phone call from Ross Renwick of with street photography because
Billy Blue fame, and he wanted I didn’t want to embarrass people
to do a book with me about the and I didn’t want to be seen
Angophora tree. Sadly, Ross as a nuisance. So I developed
passed away before the book could techniques to avoid distracting
happen, but now I had this body of people. In essence, everything
work, so I did a photo book… and in the book is about seeing, but
I also developed this love of trees, also about seeing beyond just
but I actually think that I’d always the subject, to their relationship
had this, I just hadn’t realised it. with the surroundings and even
with me. So some of the photos
“These pictures are not just are three-dimensional – there’s
about trees, they’re about my
intimate relationship with them,
and there are locations that I’ve
been visiting regularly for up to
10 years or so. But there are also
locations that I’ve never been able
to find again, no matter how hard
I’ve looked.”

There’s another element that’s
very much a part of the book’s Tree
section and that’s fire. As Bruce
was finalising the image selection
and still heading into the bush,
Australia’s east coast was being
devastated by some of the worst

The more you
shoot, the better
you’ll get. And,
as a result of
that, you’re also
seeing more.

video-makers, but what makes it so capable in features and specifications, it
this application also makes it a rather special stills also offers plenty of attractions
camera too. for still photographers… in fact,
it’s right up there with the best of
W hat exactly is a performance with both of these most notable of the latter being them in terms of its photographic
hybrid mirrorless applications. Strictly speaking then, Panasonic’s Lumix S1H and GH5/ image quality. Of course, there’s
camera? You’d think by this definition, only a small GH5S, and Sony’s A7S line. the question of why you’d spend
it was a model that number of models would qualify all that money – around $1,000
as truly hybrid, as most are more In reality though, really more than the A7R IV and twice
appeals equally to photographic in design and a few every mirrorless camera is a the price of the A7 III – if you
are more video-orientated, the highly capable stills camera and weren’t going to put this camera’s
photographers and video-makers it’s essentially just the video significant video capabilities to
good use but, ironically, the A7S
by virtue of its feature set and III has certain appeal for the purist
photographer. The sensor that
makes it work so well as a video
camera, is equally beneficial for

62

ON TRIAL SONY A7S III

still photography too. THE A7 SERIES same time, they can’t be used creates much more natural HDR
It’s an all-new backside- CAMERAS HAVE together. Needless to note, stills than the artificial-looking
PUT ON A BIT OF however, the SD card slots are simulation processing of JPEGs.
illuminated (BSI) full frame Exmor WEIGHT SINCE THE compatible with UHS-II speed The A7S III offers the option of
R CMOS with an effective pixel FIRST GENERATION devices. Sony currently offers 80 recording HEIFs with either 10-bit
count of 12.1MP, a number MODELS, BUT or 160GB capacity versions which 4:2:2 colour sampling or 10-bit
that may cause you to raise an THEY’RE STILL are, at this point, all that’s available. 4:2:0. In-camera HEIF-to-JPEG
eyebrow, but here’s the proof that AMONG THE MOST You’re looking at around $300 for conversion is available – even
less can be more when it comes to COMPACT FULL the 80GB card and $680 (ouch) for these JPEGs will have a wider
pixel counts. The total pixel count FRAME MIRRORLESS the 160GB device. dynamic range – as is RAW+HEIF
is 12.9 million, which gives a pixel BODIES ON THE capture.
size of 8.36 microns – essentially MARKET. The maximum image size is
medium format camera territory. 4240x2832 pixels and JPEGs The sensor is mated with a
Bigger pixels mean a higher signal- arrangement for the card slot – can be recorded at two smaller new and faster Bionz XR processor
to-noise ratio which, in turn, means Sony calls it a “multi slot” – and sizes with a choice of three that, Sony says, is eight times
a wider dynamic range – 14 stops there are two of these so you can compression settings and four more powerful than the previous
for stills in this instance – and mix and match cards as well as set aspect ratios of 3:2, 4:3, 16:9 generation Bionz X, three times
increased sensitivity. The native up either backup or relay recording, and 1:1. The same selection of zippier than the previous X version
range is equivalent to ISO 80 to or assign a file type to a specific capture settings is available for and also reduces rolling shutter
204,800 which is expandable to card. While the multi slot will HEIF capture, while RAW files can distortion by a factor of three
ISO 40 and 409,600 so the A7S III actually accept two cards at the be captured either uncompressed over the A7S II. The maximum
is a pretty impressive performer or lossy compressed. Sony joins continuous shooting speed of
in low-light situations. And, in Canon in offering the 10-bit HEIF 10fps is available when using
real world terms, 12 megapixels alternative to 8-bit JPEGs, and it’s either the mechanical or electronic
resolution is sufficient for a wide essentially the still derivative of shutter, and you get real-time live
variety of applications as anybody the more efficient HEVC H.265 view with the latter at up to 8fps,
who has owned a Nikon D3 or video codec. The initials stand for again with full AF/AE adjustment.
D700 will tell you (this writer High Efficiency Image Format and In reality, you’re very unlikely to
included). To this you can add 10-bit it delivers both a wider dynamic ever challenge the 1000+ frames
HEIF capture, 10fps continuous range and a wider colour gamut burst length, which applies to
shooting with AF/AE adjustment, without increasing the file size. In RAWs (either compressed or
759 point autofocusing with low- fact, twice as much information uncompressed), and maximum-
light sensitivity down to EV -6.0 can be saved in an HEIF file as in quality JPEGs or HEIFs when using
(ISO 100 and f/2.0), a big EVF with a JPEG file of the same size. It a CFexpress Type A memory card.
a resolution of 9.44 million dots
and a magnification of 0.9x, a fully- 3
articulated LCD screen (actually
a first on a Sony A7-series body) 2
and the option of using super-fast 1
CFexpress Type A memory cards
while retaining compatibility with 1. For the first time on an 2. Rear panel control layout 3. EVF is a 1.6cm OLED panel with
the popular SD format. There’s A-series camera, the LCD includes a control wheel/keypad a resolution of 9.44 million dots
plenty more, of course, but
how’s that for the basis of a very screen is fully articulated. and joystick controller. and a magnification of 0.9x.
appealing stills camera?

ON THE CARDS

The A7S III is the first camera to
use the more compact Type A
CFexpress card, which is quite
a bit smaller than Type B (and even
a bit smaller than SD), but is
capable of a read speed of up to
800 MB/second and a write speed
of up to 700 MB/second… so
they’re over twice as fast as the
speediest UHS-II SD card.
Consequently, Sony says burst
lengths of over 1,000 frames are
possible with RAW capture (thanks
also to a bigger buffer memory),
and it also allows for 4K UHD video
recording in-camera at 120fps
with 10-bit 4:2:2 colour (for the full
video rundown go to the Making
Movies panel). The size difference
with SD requires a dual-format

63

SONY A7S III 2
1
With a UHS-II speed SDXC card,
the burst lengths are reduced, but 1. Top panel control layout comprises a main mode 2. Hotshoe incorporates ‘Multi
are still very generous. dial, exposure compensation dial and rear input Interface Shoe’ connections to

GET THE LOOK wheel. Video start/stop button has been relocated support a variety of accessories,

In-body image stabilisation is to behind the shutter release. including digital audio inputs.
provided via sensor shifting which,
in co-operation with lens-based
optical image stabilisation,
operates over five axes and gives
up to 5.5 stops of correction for
camera shake. This obviously helps
make the most of the camera’s
inherent low-light shooting
capabilities. Interestingly here
though, Sony hasn’t taken the
opportunity to use sensor
shifting to give a higher resolution
image via multi-shot capture with
in-camera merging. This would
have been a bit of extra icing on
the cake for stills shooters, but it

S The menu design is brand new and much S Face/eye detection and tracking is further S Comprehensive monitor-based info display
better in times of both organisation and improved with the options of selecting the eye, includes a real-time histogram and dual-axis
object recognition for either humans or animals, level indicator. Function tiles can now be
navigation than before. and face registration and recognition. selected via the touch screen.

ST Review/replay screens comprise the ST Live view screen has dedicated displays for stills and video. Components include a guide grid,
full image or a thumbnail with a full set of real-time histogram display and dual-axis level indicator.

histograms and a highlight warning.

64

ON TRIAL SONY A7S III

perhaps shows where Sony’s main all new – may have you scratching Noise reduction is provided for detection and correction for more
priorities lie with the A7S III. your head. ‘FL’ stands for Film both long exposures and high ISO stable exposure control when
Like, and is described as creating settings, plus Sony’s long-standing using continuous shooting under
You see this with the camera’s a “moody finish”. ‘IN’ represents Dynamic Range Optimiser (DRO) gas-ignition light sources (i.e.
set of Creative Look picture Instant (camera) and gives “matte processing is retained, but there’s fluoro types) which, for example,
presets rather than the ‘Creative textures” by reducing contrast no multi-shot HDR mode probably are common in indoor sporting
Styles’ that photographers will be and saturation. ‘SH’ stands for because of the availability of 10- venues. These actually switch on
more familiar with. The Creative Soft & High Key and is designed bit HEIF and HLG (Hybrid Log and off continuously, but at such
Look presets have been borrowed to produce an image that has a Gamma) Still Image capture. a high frequency that it’s largely
from Sony’s much-lauded Venice “bright, transparent, soft, and The DRO options comprise auto imperceptible to the human eye,
6K pro cinema camera and have vivid mood”. Got it? The Creative correction – based on the contrast but can make quite a difference to
double initials as designations Looks have adjustable parameters range of the scene – or five exposures and colour balance, so
rather than descriptors such as for contrast, highlights, shadows, levels of preset correction. An the anti-flicker function adjusts the
Standard, Portrait or Vivid. You fade, saturation, sharpness, auto bracketing mode is available shutter’s timings very fractionally
can pretty well work out what sharpness range, and clarity. All for dynamic range expansion during a continuous sequence to
stands for what with most of are set via numerical value ranges. processing, as well as for white avoid this.
them – ‘ST’ is Standard, ‘PT’ Alternatively, you can create up balance and exposure. In-camera
is Portrait, ‘NT’ is natural, ‘VV’ to six custom ‘Looks’. Of course, lens corrections are provided for There’s an intervalometer that’s
is vivid, ‘VV2’ is also vivid with everything can be previewed in the vignetting (i.e. brightness fall- programmable for up to 9,999
brighter tones, ‘BW’ is B&W and excellent high-res EVF. There are no off), chromatic aberrations and shots and includes an adjustment
‘SE’ is Sepia. However, ‘FL’, ‘IN’ built-in special effects. distortion. The A7S III has flicker for AF tracking sensitivity. No
and ‘SH’ – which, incidentally, are multiple exposure facility though.

Sony has gone for solid specs has employed a passive graphite (incidentally, the full-size Type A with its digital audio interface
and functionality with the A7S alloy heat sink shaped to optimise connector), and supported by the supports higher quality sound
III rather than bling, essentially efficiency and is built into the Atomos Ninja V recorder. Encoded recording (since the audio signal
with the objective of making it as image stabiliser module. There’s 4K with 10-bit 4:2:2 colour and is transferred in digital form) with
good as is possible for 4K UHD a balancing act here in terms of up to 50/60p is also available for accessories such as the XLR-K3M
and Full HD recording, which is providing both effective cooling external recording with, usefully, adapter, which provides two XLR
still the real world for the vast and effective weather sealing. simultaneous internal recording. balanced inputs and a 3.5mm
majority of videographers. So, stereo input.
at the top of a long list of frame Three internal codecs are There’s an improved S&Q (Slow
rates and codec options is 4K UHD available – XAVC S, XAVC S-1 and & Quick) mode offering a wide In more general terms, video-
recording internally at 100/120p XAVC HS. The latter two being choice of in-camera recording makers will also appreciate the
with audio and 10-bit 4:2:2 colour, new additions. XAVC S supports frame rates and base rates to give upgraded AF capabilities and
giving a bit rate of 280 Mbps… UHD and FHD, and employs over-cranked or under-cranked performance, the fully-articulating
and still retaining full autofocusing H.264 encoding with Long GOP footage for slow or fast motion LCD display with greatly expanded
capabilities. Plus the clip length interframe compression to help effects. And up to 10-bit 4:2:2 touchscreen implementation,
limit is 20 minutes, which is keep file sizes small (these are colour is available here too, with and the sensor’s wide dynamic
undoubtedly longer than anybody output as MP4). XAVC S-1 also XAVC S-1 encoding giving a bit rate range (15 stops with S-Log3) and
is going to need for these sorts of supports UHD and FHD, but of 250 Mbps (so you’ll need exceptional performance at very
clips. There’s a small crop of 1.1x uses the All-Intra frame-by-frame a CFexpress card). high ISO settings. There’s also
at 120fps which is for slow-mo compression so the bit rate an ‘Active’ image stabilisation
effects anyway, but at 50/60p the (with 4K UHD and 10-bit 4:2:2 Both the S-Log 2 and S-Log 3 mode that combines electronic
full pixel read-out is in play (i.e. no colour) can up to 600 Mbps and profiles are supported to make image shifting with the IBIS (so
binning) with a clip length of one the resulting file sizes are huge. the most of the sensor’s extended there’s a slight 1.1x crop). For
hour. Shoot 4K UHD at 25/30p and XAVC HS uses the more efficient dynamic range, along with four autofocusing with video, there are
there isn’t any time limit beyond H.265 encoding – with Long GOP HLG (Hybrid Gamma Log) profiles dedicated ‘AF Transition Speed’
those imposed by the memory compression – to keep the bit (HLG and HLG1-3). The HLG and ‘Subject Shift Sensitivity’
card and battery pack. With the rate under 200 Mbps and create profiles are designed to enable adjustments, and the improved
Full HD resolution, you can record more manageable file sizes with an “instant” workflow for output eye-detection tracking is available
at up to 240fps – again with no 4K UHD. Incidentally, you can also to compatible HDR TV displays. (but for humans only). Overall,
cropping – which is obviously record with 10-bit 4:2:0 colour For straight out-of-camera colour the AF response and accuracy
a 10x slow-down with a 24fps sampling or 8-bit 4:2:0 to lower and contrast variations, there is a with video is the best Sony has
output. The longer clip lengths the bit rates and file sizes. Handily, choice of 10 video-centric Picture delivered so far, as is the reliability
are made possible because Sony the A7S III has proxy recording Profiles and 10 Creative Look of the tracking and the low-light
so a smaller file is simultaneously presets with eight adjustable performance. The image quality in
recorded – specifically Full HD in picture parameters. low-light situations is exemplary,
XAVC HS with 10-bit colour or HD and no other hybrid mirrorless
in XAVC S with 8-bit colour – with On the audio side, the A7S camera getting close in terms
higher bit-rate 4K footage and can III has stereo microphones with of optimising 4K functionality
then be used for easier previewing manually adjustable levels and a and performance.
or even editing. wind-cut filter. The camera has
both a stereo audio input and an
A 16-bit RAW video output (4K output. These are both standard
at 60fps) is available via HDMI 3.5mm minijack connectors,
but the ‘Multi Interface Shoe’

65

SONY A7S III ON TRIAL Info

img_2445.jpg@100%(RBG/8#) Test images captured as JPEG/large/
extra-fine images with the FE 24-70mm
0 f/2.8 G Master zoom. It’s hard to fault
the colour reproduction, tonality or
1 definition. Even with ‘only’ 12 megapixels
0 on tap, the A7S III still delivers plenty of
crisply-resolved detailing. The low-light
performance is exceptional, so you just
don’t have to worry about noise at any
sensitivity setting below ISO 12,800.
An exceptionally wide dynamic range
provides plenty of exposure latitude when
shooting in RAW.

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STAYING ON TRACK or subject on a regular basis. ISO 40 ON TRIAL SONY A7S III
Additionally, it can be set to switch ISO 100
With the new sensor comes a new position automatically when the ISO 400 ISO 80
version of Sony’s Fast Hybrid camera is turned to the vertical ISO 1600
autofocusing system that employs position. The AF frame can be ISO 6400 ISO 200
759 phase-difference detection switched between white or red to ISO 25600
points and 425 contrast-detection enhance visibility. The A7S III also ISO 102400 ISO 800
points, giving 92% frame has the ‘Circulation Of Focus Point’ ISO 409600
coverage. Low-light sensitivity function introduced with the A9 II ISO 3200
extends down to EV -6.0 at ISO that enables the focus area to be
100 and f/2.0. AI-based subject rotated through the upper, lower, ISO 12800
recognition drives the camera’s left, and right edges of the frame,
Real Time Tracking based on colour, primarily designed for situations ISO 51200
pattern, distance, and face and eye where a subject often moves
data. Additionally, the Real Time through the frame. A number ISO 204800
Eye AF can be switched between of autofocusing functions are
humans and animals, with the available via the rear screen’s The A7S III is the king of high ISO
option of auto or manual right/ touchscreen, including the performance. The native range is ISO
left eye selection with the former. selection or moving of a focusing 80-204,800 with extensions to ISO 40
Sony says performance has been point/zone, with a ‘Touchpad’ and 409,600. Bigger pixels give a higher
improved by 30% and it’s able to option that allows this to be done signal-to-noise ratio, so there’s minimal
keep tracking even if the subject when using the EVF (with the noise all the way up to ISO 12,800 and
looks away or there’s an choice of absolute or relative the image quality is still good at ISO
interruption caused by another positioning on-screen). Additionally, 51,200. Images taken in aperture-priority
object passing in front. Moreover, Touch Tracking allows you tap on a auto mode with the aperture set to f/11
tracking sensitivity can be varied subject to start the process. and exposure time varied to compensate
over five levels from ‘Locked On’ for the ISO adjustments.
to ‘Responsive’. There’s also the The manual focus assists
choice of focus or speed priority comprise a magnified view and a 67
(or a balance of both), set focus peaking display that can be
independently for single-shot and set to red, blue, yellow or white
continuous modes. Switching and high, mid or low intensity.
between the single-shot and The focus magnifier can be set to
continuous modes can be done operate continuously or for timed
manually or left to the camera durations of two or five seconds.
when it’s set to AF-A. Similar to the It’s also available with autofocusing
A9 II, there’s an ‘Aperture Drive in to help confirm focus.
AF’ which has the option of
selecting focus-priority or silent- The exposure control options
priority; the former maintains are standard Sony A-series fare,
an open aperture during auto- and based on 1200-point on-sensor
focusing in order not to degrade metering with the choice of multi-
the viewfinder image. Normally, zone, centre-weighted average,
you wouldn’t notice anything, but fully averaged, highlight-biased
with the A7S III’s no-blackout EVF or spot measurements. The spot
operated at 8fps, the lens meter’s size can be switched
continually stopping down would between standard or large, and
create annoying flickering. either locked to the frame’s centre
or linked to the active focus
There’s a choice of five area point(s). The multi-zone metering
settings, namely Wide, Zone, can be set to face-priority. The auto
Centre Fix, Spot and Expand exposure control mode overrides
Spot. All five are also available comprise an AE lock, exposure
with tracking. In the Spot modes, compensation of up to +/-5.0 EV
the focusing zone to be set (although the dial is only marked to
to one of three sizes – small, +/-3.0 EV, so going further requires
medium or large – to fine- a trip to the relevant menu) and
tune selectivity. In the Expand auto bracketing over sequences
modes, the surrounding points of three, five or nine frames. The
are automatically selected if the standard set of ‘PASM’ exposures
subject subsequently moves. modes is supplemented by a fully-
Continuous AF is supplemented by automatic mode that provides
a Lock-On function that works with subject/scene analysis and adjust
any of the area modes to provide the capture settings accordingly.
more reliable tracking. A focus
point or area can be registered The mechanical shutter has
for instant recall, which is useful a speed range of 30-1/8000
when shooting the same scene second with flash sync up to
1/250 second, and there’s the

SONY A7S III dial with front and rear input menus, the Function Menus and 64GB SDXC UHS-II V90 speed
wheels, a rear panel navigator the monitor’s control panel display. card, and a sequence of 64 best-
SThe A7S III is the first camera in wheel (which incorporates a four- quality JPEGs was recorded in
the world to use the smaller Type A way keypad) and joystick control Another first for the A7 line is 6.455 seconds – that’s a shooting
CFexpress memory card. The dual that Sony calls a “multi-selector”. a fully articulating display, which speed of 9.91fps. So you don’t
card slots are also dual format as There’s a dedicated dial for setting is obviously a big plus for video lose any speed with the fastest
they’ll accept SD types. exposure compensation (which users who often have more need SD cards, but the burst lengths are
is lockable), and the video start/ for a wider range of adjustments. reduced. The test files averaged
option of an electronic shutter for stop button has been moved The panel itself is a 3-inch TFT 8.75MB in size.
silent and vibration-free shooting to the top panel, located just LCD with a resolution of 1.44
(with the same speed range). behind the shutter release, which Sony’s continued development
There’s also the hybrid electronic is much more convenient. The million dots and adjustable of its Fast Hybrid autofocusing
front curtain shutter which starts customisation options include for brightness. As noted puts it on par with the best that’s
the exposure with the sensor four multi-functional ‘C’ buttons, at the start of this review, available in mirrorless cameras.
shutter and finishes it with the the rear control wheel and its the EVF steps up to 0.6- Canon’s Dual Pixel CMOS AF II
conventional shutter. This provides keypad quadrants, and the on- inch (1.6cm) OLED panel has set the standard, but Sony
some reduction in vibrations and screen Function Menu comprising with an impressive 9.44 is mounting a serious challenge
noise while still allowing the use of 12 tiles to give direct access to million dots resolution and and you’d have to say the A7S
electronic flash. the assigned items. There are 0.9x magnification, making III’s tracking performance – which
dedicated Function Menus for it easily the best-looking in unerringly accurate in any
The auto white balance control photography and video, while the electronic viewfinder we’ve situation when using face/eye
offers the choice of three modes customisable controls have three seen to date, and the most detection – is on par with what
– Standard, White-Priority or setups for photography, video comfortable to use. It’s adjustable we’ve experienced in the EOS R5
Ambience-Priority. Alternatively, and playback. Additionally, there’s for both brightness and colour and R6. Even fast or erratically-
there are a total of 10 presets – My Dials customisation for the balance. moving subjects are kept in sharp
including four for different types of input and control wheels. There The live view screen can be focus no matter how much the
fluoro lighting and one for shooting is, of course, a customisable My configured with a guide grid speed or direction change, so
underwater – with fine-tuning over Menu, and up to four banks of (selected from a choice of three), sports and action photography
the blue-to-amber and green-to- camera setups – designated M1 and a zebra pattern to indicate would definitely be a potential
magenta colour ranges. Manual to M4 – can be created and three areas of overexposure (with application… especially since it’s
colour temperature setting is of them assigned to the 1, 2 and 3 adjustable levels set between all still working brilliantly at 10fps.
available over a range of 2,500 to positions on the main mode dial. 70 and 100+), plus you can cycle And the low-light performance is
9,900 Kelvin. Up to three custom between a real-time histogram and superlative too, so this camera still
white balance settings can be The A7S III introduces a a dual-axis level indicator. autofocuses reliably in situations
created and, as noted earlier, white completely new menu design The battery is Sony’s high- where the human is starting to
balance bracketing is available over that employs progressive click- capacity, 2,280mAh NP-FZ100 struggle to discern details.
a sequence of three frames. right navigation to take you from lithium-ion pack which gives a
chapter to page to sub-menu claimed shot count of 600 when The imaging performance is
IN THE HAND and settings. The chapters use using only the rear display and equally impressive and there’s
colour-coded tabs, with the same 510 with the EVF. The A7S III is certainly a tonality – related to
The A7-series has put on a bit of colour used for the page numbers, compatible with the VG-C4EM the big pixel size – that’s very
weight since the first-gen models, making it much easier to see battery grip (as also used by the appealing visually. The best-quality
but they’re still among the most where you’re going or want to go. A9II and A7R IV) that holds two JPEGs look superb in terms of the
compact full-framers on the It’s more logically organised and, NP-FZ100 packs and essentially
market. The A7S III’s size and style consequently, a huge improvement doubles the range, plus the WHILE THE
are very similar to that of the A7R over the previous setup. Going batteries can be recharged in- ‘CREATIVE LOOKS’
IV and A7 III, with a good-sized hand-in-hand with this is the full situ via the camera’s Type C AND THE ‘PICTURE
handgrip and a matte black finish. implementation of touchscreen USB connection. The USB-C PROFILES’ ARE
controls to also include the main connection also supports tethered MAINLY CINEMATIC
The body is magnesium alloy shooting. The other interfaces IN EMPHASIS,
with upgraded weather sealing are HDMI Type A (i.e. full size), THERE’S SOME
and, as you’d expect for a pro- microUSB 2.0, and 3.5mm audio GREAT OPTIONS
level camera, the A7S III feels (in and out) minijacks. The wireless HERE TO EXPLORE
very solidly built. The control connections are Wi-Fi with NFC WITH STILL
layout centres on a main mode (supporting both the 2.4 and PHOTOGRAPHY.”
5.0GHz bandwidths) and
68 Bluetooth LE.

SPEED AND
PERFORMANCE

Using a Sony 80GB CFexpress
Type A memory card and the
mechanical shutter, the A7S III cap-
tured a burst of 105 JPEG/large/
extra-fine files in 10.525 seconds,
representing a shooting speed
of 9.97fps, which is obviously as
close to 10fps as makes no
difference. Out of interest, we also
ran a time trial using a Panasonic

ON TRIAL SONY A7S III

colour reproduction, contrast and in emphasis, there’s some great does at ISO 400, and there’s a of dynamic range, signal-to-noise
gradation… and it’s hard to fault options to explore with still minimal loss of either definition and the high ISO performance
either the detailing or definition. photography and experiment with or saturation all the way to ISO are the major plusses. It’s simply
There will be a limit to how large tonality, saturation and contrast. 51,200. Grain starts to manifest unmatched in terms of its low-light
these files can be reproduced, itself at ISO 102,400 and there’s capabilities, making it a brilliant
but it’s unlikely to be an issue The really big deal with the a noticeable softening of finer camera for street photography.
unless you’re thinking of making A7S III, however, is its high ISO details, but these are still useable Moreover, many of those cinematic
exhibition prints, and even then performance and here it’s without images provided you don’t want to profiles and looks actually work
we suspect everything would peer in either mirrorless cameras make big prints. With the IBIS and really effectively with stills,
hold together pretty well. The or DSLRs. There’s been some an ultra-fast prime – of which there particularly if you like more
wide dynamic range translates conjecture that the sensor might are now plenty for the FE mount muted colours.
into huge exposure latitude so, have dual-gain circuitry because – you’ll never need to be afraid of
with RAW files, there’s up to four the noise levels actually appear the dark. Yes, you’re paying more for less
stops of get-out-of-jail exposure to drop at around ISO 16,000 and in terms of resolution, but the A7S
correction, the shadows easily beyond, but it’s hard to see Sony THE VERDICT III’s still imaging performance is
being brightened without any having any sound reasons not just so comprehensively good and
discernible noise. In practical to admit to it if this was indeed On paper, there’s no question that its supreme low-light capabilities
terms, this means you can happily the case. We tend to think it’s the A7S III is a video camera first give such unsurpassed flexibility,
underexpose in the camera to something to do with how the and a stills camera second, but in it’s undoubtedly the discerning
keep tonality in even the brightest noise reduction algorithms are practice it’s actually a pretty photographer’s hybrid mirrorless
highlights. While the Creative being tweaked when there’s awesome stills camera. The camera. Of course, it also happens
Looks – and also the Picture already such a high signal-to-noise resolution simply won’t be an issue to be the discerning video-maker’s
Profiles – are mainly cinematic ratio. Regardless, the A7S III looks for a great many users, but the hybrid mirrorless camera too, so
just as good at ISO 12,800 as it resulting image quality in terms you really can’t lose.

VITAL STATISTICS SONY A7S III $5,999(ILCE-7SM3) body only, recommended retail.

Type: Professional or enthusiast-level inter- vertical/horizontal. Magnification = 0.90x GOP compression and 10-bit 4:2:2 colour, up Priority modes. 10 presets each with fine-
changeable lens mirrorless digital camera with (50mm lens at infinity). Switchable frame rate to 200 Mbps with Long GOP compression and tuning (magenta-to-green and amber-to-blue),
Sony E bayonet lens mount (FE mount). (50 or 100fps). Eyepiece strength adjustment 8-bit 4:2:0 colour). Full HD at 1920x1080 pixels; three custom settings, and manual colour tem-
Focusing: Automatic via hybrid contrast-detec- built-in. Adjustable for brightness and colour 24, 25, or 50fps and 16:9 aspect ratio (up to 50 perature setting (2500 to 9900 Kelvin). White
tion and phase-difference detection systems. temperature. 3-inch LCD monitor (1.44 million Mbps with Long GOP compression and 10-bit balance auto bracketing over three frames.
759 points with phase-difference detection, dots resolution) with tilt/swing adjustment 4:2:2 colour). Full HD at 1920x1080 pixels; 25, Interfaces: USB 3.2 Type C, USB Micro B,
425 points with contrast-detection. Focus and touchscreen controls. Adjustable for 50 or 100fps and 16:9 aspect ratio (up to 100 HDMI Type A, 3.5mm stereo audio input,
points may be selected manually or automati- brightness. Mbps with Long GOP compression and 8-bit 3.5mm stereo audio output.
cally by the camera with Wide, Zone, Centre Flash: No built-in flash. External units sync via 4:2:0 colour). XAVC S-1 format (MPEG-4/H.264 Additional Digital Features: Five-axis image
Fix, Spot (set to Small, Medium or Large) and hotshoe (‘Multi Interface Shoe’). AVC) – 4K UHD at 3840x2160 pixels; 24, 50 stabilisation via sensor-shift with up to 5.5
Expand Spot areas modes plus Tracking (Wide, Additional Features: Magnesium alloy or 100fps and 16:9 aspect ratio (up to 500 stops of correction, sensor cleaning, silent
Zone, Centre Fix, Spot S/M/L and Expand bodyshell sealed against dust and moisture, Mbps with All-Intra compression and 10-bit shooting with sensor shutter, 10 Creative Look
Spot). Focus frame can be in red or white. auto exposure bracketing (over three or five 4:2:2 colour). Full HD at 1920x1080 pixels; 24, presets (ST, PT, NT, VV, VV2, FL, IN, SH, BW,
Focus area circulation and customisation. Real- frames and up to +/-3.0 EV of adjustment; or 25, or 50fps and 16:9 aspect ratio (up to 185 SE), six customisable Custom Look presets,
Time Eye AF with Real Time Tracking – Face/ over nine frames and up to +/-1.0 EV of adjust- Mbps with All-Intra compression and 10-bit eight adjustable image parameters (Contrast,
Eye priority, right/left eye select, subject prior- ment), AE lock, programmable self-timer (two, 4:2:2 colour). NTSC standard speeds available. Highlight, Shadows, Fade, Saturation,
ity (Human or Animal) and face recognition. five or 10 second delays; one, three or five Stereo sound recording with auto/manual Sharpness, Sharpness Range and Clarity), 10
Switchable horizontal/vertical AF area. Focus frames), audible signals, wired remote control, levels and wind-cut filter. Stereo audio input Picture Profiles (see Video Features for list),
area registration and recall. Single-shot and wireless remote control, auto power-off. and headphone output provided. Digital audio Dynamic Range Optimiser (Auto, Levels 1-5),
continuous modes with auto or manual switch- interface is provided via the Multi Interface DRO auto bracketing, customisable My Menu
ing, Direct Manual Focus override, auto track- DIGITAL SECTION hotshoe. (up to 30 items), flicker detection and cor-
ing, face detection/recognition and eye detec- Sensor: 12.1 million pixels (effective) Exmor R Video Features: 16-bit RAW 4K video rection, intervalometer (up to 9999 frames),
tion. Adjustable tracking sensitivity (five levels BSI CMOS with 23.8x35.6 mm imaging area. (4264x2408 pixels at 24, 24 or 50fps PAL) in-camera lens corrections (Peripheral Shading,
from Locked On to Responsive). Sensitivity Sensitivity range equivalent to ISO 80-204,800 recording via HDMI connection, Full HD/HD Chromatic Aberration, Distortion), long
range is EV -6.0 to 20 (ISO 100 at f/2.0). Low- (expandable to ISO 40 and 409,600). proxy recording, Active Mode movie image exposure noise reduction (On/Off), high ISO
light AF assist provided by built-in LED illumi- Focal Length Increase: None. stabilisation, 10 Creative Look presets (with noise reduction (Normal, Low, Off), dual-axis
nator. Manual focus assist via magnification Formats/Resolution: Three HEIF compression adjustable parameters), six customisable electronic level display, grid guides (choice
(up to 4.1x) and focus peaking displays (Red, settings, three JPEG compression settings and Custom Look presets, 10 Picture Profile cinema of three), real-time histogram display, digital
Yellow, Blue or White; High, Medium or Low RAW output (compressed or uncompressed), presets (Black Level, Gamma [Movie, Still, Cine zoom (up to 4.0x), Adobe RGB and sRGB colour
intensity). AF micro-adjustment. plus RAW+JPEG capture. Three resolution 1-4, ITU709, ITU709 800%, S-Log2, S-Log3, spaces, highlight and shadow warnings in
Metering: 1200 pixels multi-zone evaluative settings at 3:2 aspect ratio; 4240x2832, Hybrid Log Gamma, HLG1-3], Black Gamma, replay, luminance/RGB histograms in replay,
(with Face Priority option), centre-weighted 2768x1848 and 2128x1416 pixels. Three reso- Knee, Colour Mode, Saturation, Colour Phase, adjustable image display time, 9/25 thumbnail
average, full average, spot, spot standard/ lution settings at 4:3; 3776x2832, 2464x1848 Colour Depth, Detail, Copy, Reset), zebra pat- displays, slideshow, playback zoom (up to
large, highlight bias and P-TTL auto flash. and 1888x1416 pixels. Three resolution set- tern generator (adjustable levels), Slow & 10.6x with JPEG/large images), copyright info,
Spot metering can be coupled to active focus tings at 16:9; 4240x2384, 2768x1560 and Quick mode, variable frame rates for slow/ Wi-Fi (2.4 and 5.0 GHz) and Bluetooth LE wire-
point(s). Metering range is EV -3.0 to 20 (ISO 2128x1200 pixels. Three resolution settings fast motion (1 to 200fps), time coding (SMPTE less connectivity.
100 at f/2.0). at 1:1; 2832x2832, 1840x1840 and 1408x1408 compliant) with Rec Run and Free Run modes, Power: Rechargeable 7.2 volts, 2,280mAh
Exposure Modes: Continuously variable pixels. APS-C format modes available at 3:2, focus peaking display, movie marker. ‘InfoLithium’ lithium-ion battery pack (NP-
program (with shift), shutter-priority auto, 4:3, 16:9 and 1:1 in three image sizes each. Recording Media: Dual memory card slots. FZ100 type) with in-camera recharging via
aperture-priority auto, metered manual, and 24-bit RGB colour for JPEGs, 30-bit colour for Both dual format for SD format with UHS-II USB-C. Optional VG-C4EM battery grip holds
P-TTL flash. HEIFs, 42-bit RGB colour for RAW files. speed support, and CFexpress Type A. two li-ion battery packs.
Shutter: Electronic, vertical travel, metal Video Recording: XAVC HS format (MPEG- Continuous Shooting: Over 1000 JPEG/large/ Dimensions (WxHxD): 128.9x96.9x80.8mm
blades, 30-1/8000 second plus ‘B’. Flash sync H/H.265 HEVC) – 4K UHD at 3840x2160 pixels; extra-fine frames or RAW files at up to 10fps (body only).
up to 1/250 second. Alternative sensor shutter 24, 50 or 100fps and 16:9 aspect ratio (up to with continuous AF/AE adjustment (with either Weight: 699 grams (body only with battery
has a speed range of 30-1/8000 second. Hybrid 280 Mbps with Long GOP compression and FP or sensor shutter), using a CFexpress Type pack).
‘electronic front curtain shutter’ available. 10-bit 4:2:2 colour, up to 200 Mbps with Long A memory card. Up to 8fps with real-time live Price: $5,999 body only.
Exposure compensation up to +/-5.0 EV in 1/2 GOP compression and 10-bit 4:2:0 colour). view (using the sensor shutter). Medium (6fps) Distributor: Sony Australia, telephone 1300
or 1/3-stop increments. XAVC S format (MPEG-4/H.264 AVC) – 4K UHD and low (3fps) speed modes also available. 720 071 or visit www.sony.com.au
Viewfinder: 1.6cm OLED-type EVF with 9.437 at 3840x2160 pixels; 24, 25, 50 or 100fps and White Balance: TTL measurement. Auto correc-
million dots resolution. Coverage = 100% 16:9 aspect ratio (up to 280 Mbps with Long tion with Standard, Ambience Priority or White

69

OTHFETHREISCEO, RMISPEA,CRTISCEA…MAENRDA FALL REPORT BY PAUL BURROWS.

In the glory days of 35mm film, the compact point-and-shoot camera was as, since 1934, it came in pre-
by far the most popular category and the choice of models was always loaded cassettes that were easier
Whuge. And the compact pioneered many new technologies too. to load than rollfilm and much
hile the not have been financially viable market, including Minolta, Konica more convenient than the self-
transition from otherwise. (again), Yashica and Chinon. Even loaded, reusable types that
film to digital Mamiya offered a line of compact needed, among other things,
was a major At the height of the 35mm cameras in the early 1980s and, of a darkroom.
upheaval for the compact camera’s popularity – course, locally Hanimex marketed
spanning from the late 1970s The Leicas and Zeiss Ikons that
were instrumental in popularising
photo industry, to the mid-1990s – the choice a huge selection of mostly budget 35mm film were expensive, but
in the late 1930s more affordable
it was arguably the demise of of models available at any one models. Samsung and Panasonic designs – such as Kodak’s Retina
and Retinette models – began
the compact camera that had the time would easily have been a were involved long before the appearing and the format rapidly
gained in popularity. Post World
biggest economic impact. Many couple of hundred with prices arrival of the digital era (the latter’s War II, a number of Japanese
camera makers began to produce
of these cameras may have been starting at under $50. In addition models initially marketed under the 35mm rangefinder cameras –
many based on the basic design
cheap and cheerful, but they sold to the camera-makers, the film National brand). Perhaps tellingly, of either Leica or Contax – and
from these evolved simpler, less
in vast numbers and all the major companies were involved too – all this time Sony was working on expensive models with fixed
lenses.
manufacturers promoted extensive Kodak, Konica, Fujifilm and Agfa. electronic ‘filmless’ projects.
By the early 1960s, most of the
ranges of models. Even Polaroid marketed entry-level Format For Success Japanese brands offered compact
Compared to the compact 35mm compacts for a while and, and affordable 35mm RF cameras;
including Canon, Fujifilm, Konica,
camera business, the SLR at the other end of the market, As photography became steadily Mamiya, Minolta, Olympus and
Ricoh (while both Asahi Pentax
was small fry, but the revenue there were Leica, Minox, Rollei more accessible and affordable,

generated by the sales of and Contax. Many of the Japanese there was a growing demand for

point-and-shoots financed the camera brands that are no longer cameras that were smaller and

development of higher-end around today were major players easier to use. The 35mm format

products, many of which would in the 35mm compact camera was the logical choice, especially

70

and Nikon concentrated mostly on enabled a still largely mechanical for short – but film loading, frame been experimenting with the idea
the 35mm SLR). Kodak pursued camera to be made much advance and rewind were manual, as far back as 1966 and introduced
the idea of even easier film loading more compact but, by the time and flash was an add-on. the first 35mm SLR with a built-in
via the 126 cartridge on which the 1970s rolled around, this autowinder, the FS-1, later in 1978.
was based its Instamatic series of was being made possible via Running On Auto
point-and-shoot cameras and the electronics. Automation also Line honours for the first fully
format was subsequently taken up allowed for operational simplicity Konica was the pace-setter from automatic 35mm compact is
by quite a few others. without sacrificing capability, the mid-1960s onward, firstly claimed by Canon for its AF35M
whereas previously, point-and- pioneering most of the steps announced in November 1979
In Japan, enhancing affordability shoot had meant either fixed- towards fully-automatic exposure – and known in Japan as the
was seen as a key priority as focus lenses or zone focusing, control in compacts. In 1974, it ‘Autoboy’ – which was the first
well as creating smaller cameras, and maybe even a single speed introduced the C35 EF, the first to use active triangulation-type
and this gave birth to the half- shutter or a least a very limited 35mm compact with a built-in infrared autofocusing. For the
frame 35mm configuration, range of exposure settings. Built-in flash, and it all culminated in early record, Chinon had launched the
most successfully exploited by metering in affordable RF cameras 1978 with the C35 AF, the first first motorised 35mm compact in
Olympus with its Pen series, but started appearing in the early model with autofocusing – using 1978, but this model, the 35M, still
also adopted by quite a few others 1960s and led to varying levels Honeywell’s passive Visitronic had zone-type manual focusing.
including Canon, Fujifilm, Konica, of auto exposure control – often module – and, of course, a built-in
Petri, Ricoh and Yashica. dubbed ‘Electronic Exposure’ or EE flash. However, it still had a manual Incorporating a film transport
film transport, although Konica had motor, AF drive and flash a built-in
The half-frame 35mm format while maintaining external camera

Olympus XA2, 1979. Canon AF35ML, 1981.

With the half-frame Pen series and the OM-1/2 already on his CV, Canon liked putting fast primes in its Canonet rangefinder series from
Olympus’s genius designer, Yoshihisa Maitani, next came up with the XA, the 1960s – the QL 17 (1965) had a 45mm f/1.7 – so the auto-everything
which was marvel of miniaturisation for the time. XA1, XA2, XA3 and XA4 AF35ML continued the tradition with a 40mm f/1.9. Still desirable today.
followed, the XA line lasting into the early 1990s.

Canon Snappy 20, 1982. Ricoh FF-3 AF, 1982.

Model numbers starting giving way to names that would have more Compacts with active infrared AF are easily identifiable by the ‘eyes’ – the
appeal to the point-and-shoot market. The appropriately–monikered IR transmitter and receiver. Ricoh became a very big player in the 35mm
Snappy 20 was also one of the first 35mm compacts in a colour other than compact market. FF-3’s chunky styling is very early-1980s.
black (although there was a black version just to be safe).
71

dimensions that could still be a manual zoom and, finally, the compact camera at the time. to a 35mm SLR fitted with a
described as ‘compact’ was the Holy Grail of a powered zoom However, the zoom lens soon zoom lens… so it didn’t need to
challenge and quite a number of that was first realised in 1986 became the key obsession of the be compact! The concept was
35mm compacts – particularly with the Pentax Zoom 70. While it camera makers, first with ever short-lived and only pursued with
those promoting smaller sizes – was quite an achievement for the longer telephoto focal lengths and any seriousness by Ricoh (Mirai
retained manual film advance and time, the Zoom 70 wasn’t exactly then, although trickier technically, series from 1988), Chinon (Genesis
rewinding well into the 1980s. small (and became affectionately widerangle zooms. Once the series, also from 1988), Yashica
But the race was soon on to offer known as ‘The Brick’), weighing in techniques of manufacturing (with the half-frame Samurai series
more capabilities in more compact at a solid 460g before the battery inexpensive aspherical lens from 1987) and Canon (with the
packages, and the next challenge pack or a 35mm film cassette was elements from optical resin were Epoca/Photura series from 1990).
was to squeeze in a zoom lens. loaded. For this reason, the dual perfected, the zoom compact
The first step was dual focal length lens designs remained popular really took off. However, many of At the other end of the size
lenses (typically standard and short throughout the 1980s with Nikon’s these cameras were still pretty scale, there were concerted
telephoto) – the Minolta AF-Tele TW2 (1987) – which had 35mm big and bulky, leading to the idea attempts to make the 35mm
from 1985, with 38mm and 60mm and 70mm settings – even claimed of the ‘bridge camera’ which was compact camera as small as
settings, being an example – then as the world’s thinnest 35mm marketed as a fixed-lens alternative possible, most notably by
Olympus. The company had

Konica Pop, 1982. Pentax PC35AF-M, 1984.

A small camera that became a very big hit, but it was pretty basic in design Pentax’s first autofocus 35mm compact was the PC35AF introduced in
with a fixed-focus lens and single shutter speeds. Colour choices included 1985, and followed by the M version two years later which added a
blue, green, red, white, yellow and pink. Sales eventually topped 1.5 million. motorised film transport. A sliding cover protected both lens and viewfinder
and served as the power switch. The 35mm f/2.8 five-element lens was
particularly sharp.

Fuji DL-200, 1985. Canon Snappy S, 1985.

Misloaded film was the main way that 35mm compact users lost precious The later vintage happy Snappy S had nifty rotating lens cover/power
pictures, so Fujifilm’s Drop Load system – introduced in 1983 with the DL- switch arrangement. Funky mottled colour scheme was one of a number
100 – was designed to make this less likely. The camera back only propped of options which also included custard yellow and turquoise.
open enough for the 35mm cassette to be dropped in and then the DL-200
did the rest, including prewinding the whole film. This meant that if the
camera was accidentally opened, all the exposed frames were safely back
in the cassette.

72

An eye
for detail

Achieve pixel perfection
with a 61MP sensor.

Photographer: Mark Galer Camera: Alpha 7R IV
Location: Lady Elliot Island, Australia Lens: SONY FE 135mm F1.8 GM
Settings: ISO 320 / F1.8 / 1/2000s
sony.com.au/resolution

already demonstrated its mastery flash and the film rewind crank status and is still prized today. It proof cassette design and was
of down-sizing with the half- was set in the base. A decade or had multi-beam autofocusing, a joined in this project by Fujifilm,
frame Pen cameras and, in 1972 so later and with IC chips now at wider exposure range, a faster Canon, Minolta and Nikon. The
with the OM-1, the camera that his disposal, Maitani created the 35mm f/2.8 lens, and auto colour- Advanced Photo System (APS)
influenced the next generation of mju-series of ultra-compacts that balanced flash with a red-eye used 24mm wide film, but with
35mm SLRs. The designer of both, launched in 1991. These models reduction mode. All this in an even this as the longest measure, so
Yoshihisa Maitani, now turned his again employed a clamshell-type slimmer body that weighed just the standard image size was
engineering skills to a full-frame design and were slimline enough 135g. Olympus sold 3.8 million 25.1x16.7mm, representing a 1.44x
35mm sub-compact and the result to be pocketable, but now there of them. crop compared to a 35mm frame.
was the XA, introduced in 1979. were no compromises – the There were no perforations and all
original mju (Olympus actually used Taking The Load transport activities were managed
The XA used an ingenious the symbol μ) had programmed via a transparent magnetic coating
clamshell cover for the lens and exposure control, autofocusing, a Despite all the automation, that allowed different format
the viewfinder which incorporated built-in flash and a fully motorised consumer surveys revealed that frames – dubbed Classic (the origin
a rangefinder. The clamshell design film transport. It sold five million the biggest problem with 35mm of today’s APS-C sensor size),
made the XA easily pocketable units, and two zoom-equipped compact cameras was film loading Panoramic and High Definition
– remarkable for what was still versions followed, but it was the errors resulting in the missing of – on the same roll. Some APS
largely a mechanical camera – but next-generation mju-II (launched precious photographs. cameras allowed for the cassette
the miniaturisation came with in 1997) that gained cult-camera to be stopped, removed and
compromises such as an add-on In the early 1990s, Kodak
began work on a more fool-

Hanimex Holiday, 1985. Nikon L 35AWAF (ActionTouch in the USA), 1986.

Classic Hanimex cheap and cheerful… it’s amazing what a bit of brightly If you couldn’t afford a Nikonos, the L35AW AF was the next best thing…
coloured plastic can do. Otherwise this is a keep-it-simple point-and-shoot, well sort of. It’s watertight down to three metres, has a great lens 35mm
but you do get a choice of three exposure settings. It sold for $29 when f/2.8 lens and the active AF is supplemented by manual focusing for
first launched. underwater use. Built extra tough, it’s still in demand today.

Panasonic C-900ZM Zoom, 1987. Chinon Belami AF, 1989.

Panasonic’s first foray into zoom compacts made you do the work with Chinon was another Japanese camera maker very active during the glory
the 35-70mm focal range traversed by twisting the lens barrel… old-school dates of the 35mm compact, and not afraid of doing something a bit
fashion. Novel ‘bulb’ mode kicked in when the flash is switched off, different. Barndoor-type cover extends the lens and pops the built-in flash.
allowing for longer exposures in low-light conditions.

74

reloaded later, all with no risk of arrangement for the 35mm selling a smaller image size – and Of The End
accidental exposure. In practice, cassette with auto-threading. It hence a reduced picture quality
consumers never actually saw wasn’t, however, as goof-proof – than the still hugely popular Kodak lost interest in APS almost
the film itself… the APS cassette as APS. 35mm. Image quality issues had immediately after it had been
self-loaded once dropped into seen the demise of both the 110 announced in February 1996 and
the camera and, after processing, After launch, the system format and another Kodak creation, it’s easy to see why as, not much
it was returned containing the expanded to include Agfa, Disc Film, and it was the reason later, in June, it launched the first
negatives. APS cameras pre-loaded Hanimex, Konica, Olympus, APS was never going to attract of its Digital Compact (DC) series
the film onto the take-up spool – all Pentax, Yashica and Contax. The professionals or, indeed, most cameras, the DC20 (incidentally,
automatically, of course – and it one major camera brand that enthusiast-level photographers made by Chinon). This was the first
was then ‘reversed’ back into the didn’t sign up to APS was Ricoh, even though Canon, Minolta truly compact – and comparatively
cassette, ensuring the exposed but by that time it was enjoying and Nikon launched 24mm SLR affordable – digital camera and,
frames were always safe. A huge success with its ultra-slim systems. But by far the biggest while it was primitive by today’s
number of 35mm compacts also R1, another 35mm compact that problem was the emergence of standards, it represented the
had pre-winding, including later gained cult status and, incidentally, digital imaging, which initially beginning of the end for the
examples of Fujfilm’s ‘Drop Load’ is the spiritual ancestor of today’s arrived on the consumer market as film compact.
or DL series models – another GR series digital models. compact cameras and overlapped
attempt to minimise film-loading APS during the late 1990s and With just about every major
errors via a simplified drop-in APS had considerable potential, early 2000s. consumer electronics company
but was hampered by a couple of – not just Sony and Panasonic
factors, including the challenge of

Konica Big Mini BM-201, 1990. Kodak Star 275, 1990.

The Big Mini BM-201 was the start of something big for Konica and was Following the Brownie and Hawk-Eye box cameras and the Instamatics,
the start of the trend towards more stylish, smaller and slimmer compacts. nobody did the basic point-and-shooter better than Kodak. The Star 275 is
Front and back panels are metal alloy. There was subsequently a range of the 1990s equivalent, with the only luxury being auto flash. The wide
Big Mini models, including the zoom-equipped BM-311Z (1992), which was exposure latitude of colour neg film was what ensured reasonable results.
more big than a mini.

Konica Z-Up 28W, 1990. Praktica Sport Regal, 1991.

It’s likely Konica was the most prolific producer of compact cameras, After the Cold War ended, Eastern Germany’s Praktica emerged to find it
especially in the 35mm format, which it essentially pioneered with the was about two decades behind the times in cameras. A quick trip to Taiwan
C35 (1967). The Z-Up 28W was the first 35mm compact with a wider-angle sourced some off-the-peg 35mm point-and-shooters, including the grandly-
zoom, in this case 28-56mm. named – but very basic – Sport Regal.

75

– gunning for a slice of the new comparatively expensive, keeping as Chinon, Konica-Minolta and new 35mm compacts are virtually
digital compact camera market, the sales of 35mm and APS Kyocera (Yashica and Contax) – impossible to find (Lomo’s weird
the ‘traditional’ photo brands compacts ticking along for a while. also out of the camera business and wacky products aside),
rushed to be ready for the new Kodak pulled the plug on APS in altogether. creating a thriving second-hand
competitors. There was a transition early 2004, prompting the other market. Consequently, some
period that lasted into the middle participants to progressively bail Today the digital compact 35mm models are enjoying a
of the ‘noughties’, but all R&S out over the next few years. It was camera is an endangered species, second round of popularity, such
resources were being thrown at officially pronounced dead in 2011 largely wiped out by a threat the as the Olympus mju-II series and
the new category of DSC – digital when all APS film manufacturing camera makers didn’t see coming Ricoh’s R/GR family.
still camera – which in those early ceased as well. The number of (or greatly underestimated) – the
days meant a compact. The digital new 35mm compacts started to smartphone. 35mm film remains Little Gems
configuration allowed much more dwindle very rapidly too, with most available in both colour and
freedom with design and styling, of the major brands out of the B&W – including from a number As a camera reviewer during the
but these cameras were still sector by 2010 and some – such of boutique brands that have 1980s and ’90s, I considered
sprung up in recent years – but compacts to be a bit of a chore…

Nikon TW Zoom 85, 1992. Ricoh R1, 1994.

Nikon wasn’t afraid to go big with its… ahem… compacts and the TW Ricoh is unlikely to have had any idea what the R1 would lead to, but this
Zoom 85 wasn’t much smaller than a contemporary 35mm SLR. Mind you, higher-end slim-line compact had the mysterious fairy dust that creates
it does have a pretty handy 32-85mm zoom and a built-in panorama mask a cult camera. It also had a 30mm wide-angle prime with passive autofo-
to give 13x26 mm frames. cusing and a panorama mode which gave a 24mm ultra-wide. It was also
marketed as a Rollei, the Prego Micron AF. The Ricoh line descends directly
to the current GR III digital compact.

Fujifilm Fotonex 200ix Zoom, 1996. Canon ELPH, 1996.

Following the launch of the Advanced Photo System (APS), there were Canon was determined to show off the size reductions that were possible
mass new camera announcements from all the main protagonists. Fujifilm with the smaller APS film cartridge and the ELPH was a stunning piece of
kicked off with a line-up of five Fotonex 24mm compacts (the Endeavor design. Not surprisingly, it became the best-selling APS camera of all time,
name was used in the USA) which had expanded to seven by the end at one point selling more units than all the other models combined. It’s
of 1996. packed with interesting tech too, including a hybrid active/passive
AF system.
76

there were so many ‘me-too’ cameras were truly remarkable features that the designers dreamt photography. Most were pretty
models and they just didn’t seem designs for the day, with the added up as a point of difference… a reliable and many work with
as exciting as an SLR or range- challenge of packing everything talking camera, anybody? For the battery types that are still readily
finder camera. Ah, the shallowness into an as-small-as-possible form record, that was the Minolta AF-S available, such as the AA or AAA.
of youth! factor. What’s more, point-and- V, launched in 1984, and which Better still, as was the original
shoot operational simplicity had to didn’t so much talk as issue stern intention, they still deliver good
In fact, the compact camera be backed up with capable camera commands such as “Load Film”, results at the push of a button.
pioneered a lot of technologies that systems to deliver the correct “Too Dark, Use Flash” or “Check
only found their way into 35mm focus and exposure no matter what Distance”. Needless to note, it However, what makes the
SLRs much later, autofocusing the situation. There may have been wasn’t a huge success, but a very golden era of 35mm compact
being a prime example. Volume plenty of similar models – all the collectible curiosity today. camera worth acknowledging is
sales drove these developments, main brands tried to compete at all the many millions of memories and
creating the returns that actually levels – but many of these cameras In fact, there’s been quite a special moments that these little
enabled the enthusiast-level also had their own little touches revival of interest in the humble gems recorded and preserved.
products, which actually sold in of individuality or character, either 35mm compact camera (and even
very low numbers in comparison. in terms of styling or gimmicky APS models) that represents
Looking back now, some of these a very affordable way into film

Olympus mju-II, 1997. Hanimex Big Eye AF, 1997.

Despite the arrival of APS, Olympus kept on making ever-smaller 35mm The fully-automatic APS format Big Eye AF was probably one of the most
compacts and the mju-II was a real gem, with the added attraction of advanced compact cameras ever to wear the Hanimex badge, and it even
weather-proofing. Lens is a super sharp 35mm f.2.8 prime with active had a small LCD info panel on the top. Gotta be proud of an Australian
multi-beam autofocusing. camera company and, although it never actually built anything here, a few
designs were home-grown, most notably the 35mm Amphibian (1983).

Yashica EZ-S Zoom 105, 1997. Olympus i-Zoom 75, 1999.

Under Kyocera’s ownership since 1983, Yashica was another brand that Interestingly, the APS i-Zoom 75 is pretty much the same size as the 35mm
enthusiastically embraced the 35mm compact camera and there was a mju-II, but it does have a useful 28-75mm zoom and, by now, Olympus
deluge of models from the mid-1980s and through the 1990s. Big curves was using the generally more reliable passive autofocusing. Feature set
were a thing in 1997. includes a choice of multi-zone (well, three) and spot metering modes,
red-eye reduction flash, night scene option and weather sealing.

77

WINNER a very atmospheric study. Colin Haigh was the
man behind the camera, which was a Fujifilm
Sometimes distilling an image down to the X-H1 fitted with the XF 18-55mm f/2.8-4.0 R LM
simplest of elements will actually make it much OIS zoom lens.
stronger. Here the soft tones of the predawn
light and softer rendition of the waves creates

FUJIFILM SHOWCASE 2021 upon the expiry of your paid one. However, Fujifilm a reproduction of up to 20x15cm. Please avoid
is still supplying the grand prize which, for 2021, will submitting overly large file sizes, especially when
The 2021 Fujifilm Showcase runs until 31 August be announced shortly. Note that it is not a require- emailing the images. Up to 2MB in file size is
2021. You can enter the Fujifilm Showcase as many ment that entries to the Fujifilm Showcase be taken more than sufficient.
times as you like during the year, submitting up to on Fujifilm camera equipment. Read the accompany- • Digital retouching and manipulation is permitted,
four photographs each time. Entries received after ing rules carefully and get snapping. but the judges will continue to reward good
this date will be automatically entered in the 2022 in-camera techniques.
competition. Please make sure you provide all the ENTRY GUIDELINES • Full details of the camera, lens and any
necessary camera and film/capture details on the retouching must be supplied with the image.
entry coupon (which can be copied if you don’t want You can enter the Fujifilm Showcase by sending your Images can be titled if you wish, but this isn’t
to cut up your magazine). All entries must be images files on DVD or USB drive, or you can enter essential. Please make sure your DVDs or USB
accompanied by a fully completed entry coupon. online via [email protected] Physical entries drives are marked with your name and address
can be sent to Australian Camera Magazine, Future if you want them returned.
Fujifilm Australia has been generously supplying Publishing Australia, PO Box 1077 Mount Street, • Up to four images may be permitted per entry.
the round prizes for quite a few years, but the North Sydney, NSW 2059. • Please include a self-addressed and postage-paid
company no longer markets memory cards, so envelope if you would like your disc or
round winners will receive a complimentary six-issue The requirements for submitting digital files drive returned.
subscription to Camera magazine. If you already are as follows.
subscribe, your prize subscription will commence • 300 dpi resolution, and at a file size that enables

78

W2TSH0HI2INOR1NWDFEUCRRJAOSISFUEINLMD HIGHLY COMMENDED

Coincidentally, a similar technique has been applied in this
issue’s runner-up image by Pierre Fonsny. Simple shapes
created by softening – and emphasised by the reflections –
combined with a single, predominant colour tone ends up
packing quite a visual punch. Pierre used a Sony A7 II fitted
with a Sony FE 24-105mm f/4.0 G OSS zoom.

Tell us how you did it! When you enter the Fujifilm Showcase, remember to explain any tips and techniques you
used to achieve the result. Also, let us know the type of camera and lens. You can also enter by email (see below).

1.TITLE CAMERA LENS Please return entries. Self-addressed
2.TITLE CAMERA LENS postage and packaging is included.
3.TITLE
4.TITLE I do not want my entries returned.

NAME CAMERA LENS
ADDRESS
STATE CAMERA LENS

POSTCODE TELEPHONE Post your entry to: Fujifilm Showcase,
Camera Magazine, PO Box 1077,
Mount Street, North Sydney, NSW
2059 (or email to camera@futurenet.
com – see left page for digital
submission details).

79

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DIGITAL SLR CAMERAS BUYER’S CHECK LIST MARCH/APRIL 2021

THIS CHECKLIST is designed to allow direct comparisons ‘estimated street price’ derived from the range of prices for or confirmed, the letters TBA (to be announced) or TBC
between different camera models, listed here in price order a model published by retailers. Where this has been (to be confirmed) are used. If a feature is irrelevant to
within each brand. The published prices are mostly supplied necessary, the letter ‘E’ appears at the start of the entry. a particular model – such as mirror lock-up for compact
by the distributors as recommended retail prices (RRPs). system cameras – then n/a (not applicable) is used.
However, some distributors are no longer supplying RRPs A dot appearing in a column indicates that the feature Every effort is made to ensure accuracy; please send
to the media so it has become necessary to determine an is available on the camera model listed. Where a any corrections to [email protected].
specification or product detail hasn’t yet been published

Sensor Sensor File Memory Exposure Modes Features
Size Type Formats Cards

Review Issue

Weight (Body Only)

Monitor Size (cm)
Weather Proofing
Live View
Wi-Fi
Anti-Shake In Body

4K Video
FHD Video

Anti-Dust
Built-In Flash

Shutter Speeds
Manual
Shutter Priority
Aperture Priority
Subject Programs
Program

Metering Pixels/Zones

Autofocus Points

Burst Length (U=Unlimited)
Max. Resolution
Continuous Shooting Speed
(fps)
SD/SDHC/SDXC
Memory Stick
CF/XQD/Cfast
JPEG
TIFF
RAW
Foveon
CMOS
CCD
Four-Thirds
APS/DX
Full-Frame

Megapixels (Effective)
Price (Body Only Unless
Noted With Asterisk *)

Model

Canon EOS 3000D* $599 18 • ••• • 3 110 9 63 • • • • • 30-1/4000 • • •• 6.8 436 Jul/Aug ‘18

Canon EOS 1500D* $699 24.1 • ••• • 3 150 9 63 • • • • • 30-1/4000 • • • • 7.62 475 Jul/Aug ‘18

Canon EOS 200D* $799 24.2 • ••• •5 U 9 63 • • • • • 30-1/4000 • • • • • 7.62 406

Canon EOS 200D Mark II* $999 24.1 • ••• •5 U 9 63 • • • • • 30-1/4000 • • • • • • 7.62 402

Canon EOS 800D* $1,199 24.2 • ••• • 6 950 45 7560 • • • • • 30-1/4000 • • • • • 7.62 485

Canon EOS 77D* $1,249 24.2 • ••• • 6 950 45 7560 • • • • • 30-1/4000 • • • • • 7.62 493 Nov/Dec ‘17

Canon EOS 850D $1,350 24.1 • ••• • 7 170 45 220K • • • • • 30-1/4000 • • • • •• 8.1 515

Canon EOS 80D* $1,429 24.2 • ••• • 7 110 45 7560 • • • • • 30-1/8000 • • • • • • 7.62 730 Sept/Oct ‘16

Canon EOS 90D $1,799 32.5 • ••• • 10 58 45 220K • • • • • 30-1/16,000 • • • • • • • 7.7 701 Nov/Dec ‘19

Canon EOS 7D Mark II $2,149 20.2 • • • •• • 10 U 65 252 • • • • 30-1/8000 • • • • • • 7.62 910 Jan/Feb ‘15

Canon EOS 6D Mark II $2,149 26.2 • ••• • 6.5 110 45 7560 • • • • • 30-1/4000 •• • • • 7.62 685 Jan/Feb ‘18

Canon EOS 5Ds $3,899 50.6 • • • •• • 5 510 61 105K • • • • 30-1/8000 •• • • 8.1 845 Sept/Oct ‘15

Canon EOS 5D Mark IV $4,100 30.4 • • • •• •7 U 61 150K • • • • 30-1/8000 ••• • • • 8.1 890 Jan/Feb ‘17

Canon EOS 5DsR $4,199 50.6 • • • •• • 5 510 61 105K • • • • 30-1/8000 •• • • 8.1 845

Canon EOS-1DX Mark II $8,299 20.2 • • • •• 14 U 61 360K • • • • 30-1/8000 ••• • • • 8.1 1340

Canon EOS-1DX Mark III $11,229 20.1 • • • •• 16 1000+ 191 400k • • • • 30/1/8000 ••• • • • 8.1 1440 May/Jun ‘20

E Nikon D3500* $849 24.2 • ••• • 5 100 11 420 • • • • • 30-1/4000 • • • • • 7.62 365

E Nikon D5600* $1,199 24.2 • ••• • 5 100 39 2106 • • • • • 30-1/4000 • • • •• 8.1 410

E Nikon D7500 $1,299 20.9 • ••• • 8 100 51 180K • • • • • 30-1/8000 • • • • • • • 8.1 640

E Nikon D750 $1,699 24.3 • ••• • 6.5 87 51 91K • • • • • 30-1/4000 • • • • • • 8.1 750 May/Jun ‘15

E Nikon D500 $2,599 20.9 • • •••• • 10 79 153 180K • • • • 30-1/8000 ••• • • • 8.1 760 Nov/Dec ‘16

E Nikon D780 $3,899 24.5 • ••• • 7 100 51 180k • • • • 900-1/8000 ••• • • • 8.1 755 Jul/Aug ‘20

Nikon D850 $4,699 45.7 • • •••• • 7 200 153 180K • • • • 30-1/8000 ••• • • • 8.1 915 Nov/Dec ‘17

E Nikon D5 $6,999 20.8 • • ••• 12 200 153 180K • • • • 30-1/8000 ••• • • • 8.1 1235 Sept/Oct ‘16

E Nikon D6 $9,999 20.8 • • • •• 14 200 105 180K • • • 900-1/8000 ••• • • • 8.1 1270 Nov/Dec ‘20

Pentax K-70 $1,099 24.24 • ••• • 6 40 11 77 • • • • • 30-1/6000 • • • • • • • 7.62 685

Pentax KP $1,229 24.3 • ••• • 7 28 27 86K • • • • • 30-1/24,000 • • • • • • • 7.62 640

Pentax K-1 Mark II $2,899 36.4 • ••• • 4.4 70 33 86K • • • • 30-1/8000 •• • • • • 8.1 925
Sony ILCA-99 II $4,199 42.4 •
• • • • • 12 60 478 1200 • • • • • 30-1/8000 • • • • • • • 7.62 790

80

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MIRRORLESS CAMERAS BUYER’S CHECK LIST MARCH/APRIL 2021

Sensor Sensor File Memory Exposure Modes Features
Size Type Formats Cards

Review Issue

Weight (Body Only)

Monitor Size (cm)
Weather Proofing
Built-In Viewfinder
Wi-Fi
Anti-Shake In Body

4K Video
FHD Video

Anti-Dust
Built-In Flash

Shutter Speeds
Manual
Shutter Priority
Aperture Priority
Subject Programs
Program

Metering Zones

Autofocus Points
Burst Length
(U=Unlimited) Max.
Resolution
Continuous
Shooting Speed (fps)
SD/SDHC/SDXC * = microSD
Memory Stick
Compact Flash
JPEG
TIFF
RAW
Foveon
CMOS
Four Thirds
APS/DX
Full-Frame

Megapixels (Effective)
Price (Body Only Unless
Noted With Asterisk*)

Model
* single lens kit
** twin lens kit $849 24.1 •• •• • 6.1 71 143 384 • • • • • 30-1/4000 •• •• • 7.62 262
$849 24.2 •• 26 • 343
Canon EOS M200* $1,099 24.1 •• •• •9 33 49 384 • • • • 30-1/4000 •• •• • 7.62 387
Canon EOS M6* $1,149 24.2 •• U • 380 Mar/Apr ‘17
Canon EOS M50* $1,749 32.5 •• •• • 10 48 143 384 • • • • • 30-1/4000 •• •• ••• 7.62 408 Jul/Aug ‘20
Canon EOS M5* $2,049 26 •• U •• 440 May/June ‘19
Canon EOS M6 Mark II* $3,200 30.3 •• •• •7 100 49 384 • • • • • 30-1/4000 •• •• ••• 8.1 580 Jan/Feb ‘19
Canon EOS RP $4,749 20.1 •• 1000 •• 598 Nov/Dec ‘20
Canon EOS R $7,099 45 •• •• • 14 350 5481 384 • • • • • 30-1/16,000 • • •• •• • 7.5 650 Sept/Oct ‘20
Canon EOS R6 $899 24.24 •• TBC •• 271
Canon EOS R5 $1,079 24.24 •• •• •5 TBC 4779 384 • • • • • 30-1/4000 • •• • • • 7.62 321
Fujifilm X-A7* $1,099 24.24 •• 35 •• 287 Jan/Feb ‘18
Fujifilm X-T200* $1,399 26.1 •• •• •8 32 5655 384 • • • • 30-1/8000 • •• • • • 8.01 315
Fujifilm X-E3* $1,599 26.1 •• 32 •• 333 Jul/Aug ‘19
Fujifilm X-E4 $1,749 26.1 •• •• • 20 32 6074 384 • • • • 30-1/8000 • •• • • • • 7.62 465 Mar/Apr ‘21
Fujifilm X-T30 $1,999 26.1 •• 145 •• 489 Jan/Feb ‘19
Fujifilm X-S10 $2,499 26.1 •• • • • • 20 145 5940 384 • • • • 30-1/8000 • •• • • • • 8.1 447 Jul/Aug ‘20
Fujifilm X-T3 $2,699 26.1 •• 110 •• 526 Sept/Oct ‘20
Fujifilm X-Pro3 $2,900 24.32 •• •• •6 29 TBC 256 • • • • • 30-1/32,000 • • •• • 8.9 355
Fujifilm X-T4 $3,700 24.24 •• 140 •• 353 Jan/Feb ‘18
Leica TL2 $7,500 24.2 •• •• •8 999 425 256 • • • • • 30-1/32,000 • • •• •• 8.89 850
Leica CL $9,900 47.3 •• 100 •• 835 Jan/Feb ‘20
Leica SL2-S $1,599 20.9 •• •• • 14 71 325 256 • • • • • 900-1/32,000 • •• •• 7.62 395
Leica SL2 $2,599 24.3 •• 100 •• 590 Jan/Feb ‘21
E Nikon Z 50 $2,999 24.5 •• •• • 20 44 425 256 • • • • 900-1/32,000 • •• •• 7.62 585 Mar/Apr ‘19
E Nikon Z 5 $3,599 24.5 •• 200 •• 615
E Nikon Z 6 $4,599 45.7 •• •• • 20 23 425 256 • • • • 900-1/32,000 • • •• ••• 7.62 585 Nov/Dec ‘18
E Nikon Z 6II $5,599 45.7 •• 200 •• 615
E Nikon Z 7 $999 16.1 •• • 20 36 425 256 • • • • 30-1/32,000 • • •• ••• 7.62 365 Nov/Dec ‘17
E Nikon Z 7II $1,099 16.1 •• U •• 332
Olympus OM-D E-M10 III* $1,099 16.1 •• •• • 11 19 425 256 • • • • 900-1/32,000 • • • • • 7.62 417 May/June ‘15
Olympus PEN E-PL9* $1,199 16.1 •• 21 •• 332
Olympus OM-D E-M5 II $1,499 20.3 •• ••• • 11 49 325 256 • • • • 900-1/32,00 • •• • • • 7.62 335 Nov/Dec ‘20
Olympus PEN E-PL10* $1,799 20.4 •• 150 •• 366
Olympus OM-D E-M10 IV* $2,499 20.4 •• ••• • 15 84 425 256 • • • • 900-1/32,000 • •• • • • • 7.62 498 Mar/Apr ‘17
Olympus OM-D E-M5 III $3,099 20.4 •• 90 •• 504 Sept/Oct ‘20
Olympus OM-D E-M1 II $4,499 20.4 •• •• • 20 89 49 TBC • • • • • 30-1/40,000 • •• • 9.4 849 Mar/Apr ‘19
Olympus OM-D E-M1 III $799 16 •• 100 •• 239
Olympus OM-D E-M1X $849 16 •• •• • 10 100 49 TBC • • • • • 30- 1/25,000 •• •• 7.62 240
Panasonic Lumix GX850* $899 18.3 •• U • 365 Sept/Oct ‘15
Panasonic Lumix GX880* $1,099 20.3 •• •• • 25 480 225 TBC • • • • 60-1/16,000 • •• • • • • 8.1 303
Panasonic Lumix G7 $1,149 16 •• 100 •• 453 Jan/Feb ‘17
Panasonic Lumix G100 $1,149 20.3 •• •• • 10 100 225 TBC • • • • 1800-1/40,000 • •• • • • • 8.1 450 Jul/Aug ‘18
Panasonic Lumix G85 $1,599 20.3 •• 300 •• 484 Nov/Dec ‘19
Panasonic Lumix GX9 $1,999 20.3 •• •• • 11 600 209 TBC • • • • • 30-1/4000 • •• •• 8.1 579 Jan/Feb ‘18
Panasonic Lumix G95 $2,399 20.3 •• 600 •• 645 Jul/Aug ‘17
Panasonic Lumix G9 $3,199 24.2 •• •• • 4.5 999 273 TBC • • • • 30-1/8000 • •• • • • • 8.1 630 Jan/Feb ‘21
Panasonic Lumix GH5 $3,399 20.3 •• 600 •• 580
Panasonic Lumix S5 $3,599 24.2 •• •••• 12 999 273 TBC • • • • 30-1/8000 • •• • • • • 8.1 899
Panasonic Lumix GH5S $5,299 47.3 •• 50 •• 898 Sept/Oct ‘19
Panasonic Lumix S1 $5,999 24.2 •• •••• • 14 999 273 TBC • • • • 900-1/8000 • •• • • • • 8.1 1052 Mar/Apr ‘20
Panasonic Lumix S1R $1,699 29.5 •• 12 625
Panasonic Lumix S1H $2,799 38.6 •• •••• 9 12 493 TBC • • • • 30-1/8000 • •• • • • • 8.1 635
Sigma sd Quattro $3,299 24.6 12 • 370 Mar/Apr ‘20
Sigma sd Quattro H $899 24.3 • •••• • 10 56 493 TBC 900-1/8000 • • • • • • 8.1 224
Sigma fp $1,199 24.3 •• 49 •• 285
Sony Alpha 5100* $1,349 24.2 •• • 8.6 77 121 324 • • • • • 60-1/16,000 • • •• ••• 7.62 396
Sony Alpha 6000 $1,399 24.2 •• 115 • 403 Sept/Oct ‘19
Sony Alpha 6100 $1,499 24.3 •• •• • 8.6 77 121 324 • • • • • 60-1/16,000 • • • •• 7.62 416
Sony Alpha 6400 $1,799 24.3 •• 77 •• 556
Sony Alpha 7 $2,399 24.2 •• •• • 10 115 81 324 • • • • • 60-1/16,000 • •• • • • • 7.62 503
Sony Alpha 7 II $2,549 24.2 •• 223 •• 509
Sony Alpha 6600 $2,749 12.1 •• •• • 8.6 64 121 324 • • • • • 60-1/16,000 • • •• •• 7.62 584
Sony Alpha 7C $2,799 42.4 •• 30 •• 582
Sony Alpha 7S II $2,999 24.2 •• •• • 15 163 121 324 • • • • • 60-1/16,000 • • •• ••• 7.62 650 Sept/Oct ‘18
Sony Alpha 7R II $3,799 42.4 •• 76 •• 657 May/June ‘18
Sony Alpha A7 III $5,299 24.2 •• •• • 30 362 121 324 • • • • • 60-1/32,000 • •• • • • • 7.62 673 Sept/Oct ‘17
Sony Alpha 7R III $5,299 61 •• 68 •• 665 Jan/Feb ‘20
Sony Alpha 9 $5,999 12.1 •• •• • 15 1000 242 324 • • • • 60-1/32,000 • •• • • • • 7.62 699 Mar/Apr ‘21
Sony Alpha 7R IV $6,799 24.2 •• 361 •• 678 May/June ‘20
Sony Alpha A7S III •• •• • 18 242 324 • • • • 60-1/32,000 • • • • • 7.62
Sony Alpha 9 II $10,499 50.1 •• 165
Sony Alpha 1 •• •• • 18 242 324 • • • • 60-1/32,000 • • • • • 7.62

82 •• •• •* 6 49 1728 • • • • • 60-1/16,000 • • • 7.62

•• • 5.8 49 1728 • • • • • 60-1/16,000 • • • 7.62

•• •8 49 1728 • • • • • 60-1/16000 • • •• 7.62

•• • 10 49 1728 • • • • • 60-1/16,000 • • ••• 7.62

•• •9 49 1728 • • • • • 60-1/16,000 • • • • • • 7.62

•• •9 49 1728 • • • • • 60-1/16,000 • • ••• 7.62

•• •9 49 1728 • • • • • 60-1/16,000 • • • • • • 7.62

•• • 20 225 1728 • • • • 60-1/32,000 • • • • • 7.62

•• • 12 225 1728 • • • • 60-1/16,000 • • • • • 8.1

•• •7 225 1728 60-1/8000 • • • • • 7.5

•• • 12 225 1728 • • • • 60-1/16,000 • • • • • 8.1

• •• •9 225 1728 • • • • 60-1/8000 • • • • • 8.1

• •• •9 225 1728 • • • • 60-1/8000 • • • • • 8.1

•• •9 225 1728 • • • • 60-1/8000 • • • • • 8.1

•• • 3.8 9 TBC • • • • 30-1/4000 • • 7.62

•• • 3.8 9 TBC • • • • 30-1/4000 • • 7.62

•• • 18 49 TBC • • • • 30-1/8000 • •• • 8.1

• • ••6 179 1200 • • • • • 30-1/4000 •• •• 7.5

• • • • 11 179 1200 • • • • • 30-1/4000 •• ••• 7.5

• • • • 11 425 1200 • • • • • 30-1/4000 •• •• 7.5

• • • • 11 425 1200 • • • • • 30/1/4000 •• • • • • 7.5

• • ••5 25 1200 • • • • • 30-1/8000 • • • • 7.5

• • ••5 117 1200 • • • • • 30-1/8000 • • • • • 7.5

• • • • 11 425 1200 • • • • • 30-1/4000 • • • • • 7.5

•• • 10 693 1200 • • • • 30-1/4000 • • • • • 7.5

• • ••5 169 1200 • • • • • 30-1/8000 • • • • • 7.5

• • ••5 399 1200 • • • • • 30-1/8000 • • • • • 7.5

• • • • 10 693 1200 • • • • • 30-1/8000 • • • • • 7.5

• • • • 10 425 1200 • • • • 30-1/8000 • • • • • 7.5

• • • • 20 693 1200 • • • • 30-1/32,000 • • • • • 7.5

• • • • 10 567 1200 • • • • 30-1/8000 • • • • • 7.5

• • • • 10 759 1200 • • • • 30-1/8000 • • • • • 7.5

• • • • 20 693 1200 • • • • 30-1/32,000 • • • • • 7.5

• • • • 30 759 1200 • • • • 30-1/8000 • • • • • 7.5